ADVERTISEMENT. 


WE  FURNISH 


Complete  Plants 


FOR  THE  PREPARATION  OF 


JACQUARD  CARD-LACING 
MACHINE. 


Jacquard  Cards, 
Repeating,  Lacing, 
Cutting,  Etc, 


POWER  CARD-STAMPER. 


DOBBY  CARD-STAMPER-  PHILADELPHIA.  FOOT-POWER  STAMPER- 


i 


ADVERTISEMENT. 


Makers 


Knowles  Loom  Works 

WORCESTER,  MASS.,  U.  S.  A. 

Five  Awards 

AT  THE 

World's 

Columbian 

Exposition. 

^Power  Looms  of  Every  Description, 
Also  Jacquards  and  Dobbies. 

The  extraordinary  demand  for  our 

Rise  and  Fall  gingle-Lever  Jacquards 

is  sufficient  evidence  that  they  are  superior  to  all  others. 
They  can  be  operated  at  a  Higher  Rate  of  Speed  than 

any  other  (Rotary  not  excepted)^  ;  .« 

■       ->  ?  * 

We  manufacture  jacquards  for  \ 
evV.ry  class  b'f  Weaving  for  v\*h:£n  such'  • 
machines  #can  be  used. 

The  Stafford  Dobby"  is  too  well  known  to  need  more 

than  mere  reference,  over  i6,oco  being  in  use.  It  is  adapted  for 
Lenos,  Double  Weaves,  Towels,  or  any  class  of  goods  requiring 
fancy  effects,  not  sufficiently  elaborate  to  require  Jacquards, 


SEND  FOR  CATALOGUES  AND  PRICES  OF  ALL  OUR  MACHINERY. 


THE  "KNOWLES  LOOM"  FOR  FOREIGN  COUNTRIES 

isBuntby  HiiTrHiNSON  HOLLI NG WORTH  &  CO., 

DOBCROSS,  ENGLHND. 
WE  ALSO  HAVE  BRANCH  WORKS  LOCATED  AT  PROVIDENCE,  R.  I.,  U.  S.  A. 

(See  also  Outside  Back  Cover.) 


LIST  OF  ADVERTISERS 


/^damson,  Edward   Pawtucket,  R.  I   v 

Altemus,  W.  W.  &  Son   Philadelphia   viii 

American  Supply  Co  Providence,  R.  I   x 

Atlas  M'fg  Co    Newark,  N.  J  xviii 

Barker,  James  Philadelphia   xv 

Beer,  Paul    Philadelphia   xiv 

Burkhardt's,  Geo.  J.  Sons  Philadelphia   xvi 

Charlotte  Supply  Co  Charlotte,  N.  C   xiv 

Cheney  Bros  South  Manchester,  Conn   iv 

Cleaver  &  Leather  Paterson,  N.  J  xiii 

Crompton  Loom  Works  Worcester,  Mass   ix 

Draper,  Geo.  &  Son    Hopedale,  Mass   vi 

Excelsior  Loom  Reed  Works  Pawtucket,  R.  I   v 

pairmount  Machine  Co  Philadelphia   viii 

Fleming  &  Chapin      Philadelphia   xvi 

Forrest,  John  Philadelphia   xx 

Friedberger,  S  Germantown,  Philadelphia   v 

Funk  &  Wagnalls  Co    New  York   xix 

Furbush,  M.  A.  &  Son,  Machine  Co  Philadelphia     xii 

Fox  &  Lentz  Philadelphia    xxi 

H  adley  Company    Holyoke,  Mass    xvi 

Hall,  I.  A  Paterson,  N.  J  xiii 

Halton,  Thomas  Philadelphia   xi 

Hand,  Frederic  &  Co    Paterson,  N.  J   xi 

Holbrook  M'fg  Co  New  York  xiii 

Howson  &  Howson    Philadelphia   xiv 

Jones,  Frederick  &  Co  Philadelphia   xx 

Kilburn,  Lincoln  &  Co  Fall  River,  Mass   xix 

Knowles  Loom  Works  Worcester,  Mass   .    ii 

Liotard,  Louis  F  Paterson,  N.  J  xiii 

Mason  Machine  Works   Taunton,  Mass   v 

McCloud,  Chas.  &  Co  Philadelphia   . .  xx 

providence  Machine  C*>   Providence,  R.  I   iv 

Philadelphia  School  of  Design  Philadelphia  xvii 

Posselt,  E.  A.  (Publisher)   Philadelphia  xxii,  xxiii,  xxiv,  xxv 

Posselt's  Textile  School   Philadelphia  Opposite  Table  of  Contents 

Queen  &  Co  Philadelphia   xi 

Royle,  John  &  Sons  Paterson,  N.  J  . .   xxvi 

Riehl,  Henry  &  Son  .?V  J  ...EniladeTjJhia,  .    xiv 

Schaum  &  Uhlinger  'Lvi  V*      . ;  .rftfadeVphia^;*   r 

Schofield,  Geo,  L  ***  V*  .  V.V. .Ptfiladelphia?.        I   xvi 

Standard  Dictionary  „ . .  .»»•.-."••  i  •  New  York  xix 

Textile  Record  Co  .V.  \*\         •  •  -  •  •  \^1%^M^\-A' '•>*•:  V*  xxi 

Troemner ,  Henry   •. .  f .  •  t ..*#•*.  \ .«...!.  1 . .2. . . . : PTliUdfe^H^:    xi 

Watson,  L.  S.  M'fg  Co  Leicester,  Mass  xxi 

Widmer  Bros  ?,  1 1 .      .  J  v« .  t\  Petersen  ,-N.r  J     xiv 

Woolford,  Geo  /.Hfll .;  .  V.  „V.Pjtf ja^elgltfa..  xvii 


CLASSIFIED  INDEX. 


Belting. 

American  Supply  Co. 
Charlotte  Supply  Co. 
Dan  forth  Belting  Co. 
Josiah  Gates  &  Sons. 
Geo.  L.  Schofield. 

Books. 

Funk  &  Wagnalls  Co. 
E.  A  Posselt. 

Burring  Machinery. 

Atlas  M'fg  Co. 

The  Phila.  Textile  Machinery  Co. 
James  Smith  Woolen  Machinery  Co. 
C.  G.  Sargent's  Sons. 

CO 


Carbonizing  Machines. 

Kitson  Machine  Co. 

Card  Cutting  and  Lacing  Ma- 
chinery, 

John  Royle  &  Sons. 
Schaum  &  Uhlinger. 
Henry  Riehl  &  Son. 

Cards  for  Jacquard  Looms. 

C.  F.  Crehore  &  Son. 

Condensers. 

James  Barker. 

M.  A.  Furbush  &  Son  Machine  Co. 
James  Smith  Woolen  Machinery  Co. 

NTINUED    OIM  RAGE 


Coppersmiths. 

Paul  Beer. 
D.  H.  Wilson. 

Designing. 

Fox  &  Lentz. 
Fred.  Hand  &  Co. 

Design  Papers. 

F.  Jones  &  Co. 
Queen  &  Co. 

Dyeing,  Printing,  and  Sizing: 
Machines. 

Fairmount  Machine  Co. 
Sprowles&  Houseman. 

VII. 


ADVERTISEMENT. 


PROVIDENCE  MACHINE  CO. 


Manufacturers  and  Dealers  in 


MACHINE  RY. 

SPECIALTY*^ 

COTTON  AND  WORSTED  ROVING  FRAMES. 

Flyers,  Pressers,  Spindles,  Fluted  Rolls,  Top  Rolls,  Bobbin  Gears,  Etc.,  for  Speeders. 

Cotton  Combers  and  Lap  Winders,  Machinery  Castings. 

SMALL    CASTINGS    A  SPECIALTY. 

Worsted  Frame  Rolls,  Gill  Screws  and  Fallers,  Wood  and  Metal  Patterns. 

Cheney  Brothers, 

SILK  MANUFACTURERS, 

MILLS:  South  Manchester  and  Hartford,  Conn. 

SALESROOMS: 

447  Broome  Street,  New  York;  79  Chauncy  Street,  Boston; 

Medinah  Building,  5th  Avenue  and  Jackson  Street,  Chicago. 

SPUH  SILK  YAMS,  ORGAErZINE  AND  TRAM, 

In   tlie   G-ra,3r,   ZD^ed.   or  ZFrinted.- 
FAST   COLORS  WARRANTED. 

ON  SPOOLS,  CONES  OR  SHUTTLE   BOBBINS;    IN  WARPS  OR   IN  THE  HANK. 

Special  Yarns  made  to  order  for  all  sorts  of  Silk  or  Silk  Mixture  Goods. 


MANUFACTURERS'  ORDERS  PROMPTLY  EXECUTED. 

iv 


ADVERTISEMENT. 


Mason  Machine  Works 


TAUNTON,  MASS., 
U.  S.  A. 


COTTON  MACHINERY. 


LATEST 
PATTERN 
REVOLVING 
FLAT  CARDS, 
RAILWAY 
HEADS 
AND 
DRAWING 
FRAMES. 


SPINNING 

FRAMES, 
MULES. 

LOOMS 
IN  GREAT 
VARIETY, 

PLAIN 
AND  FANCY. 


Licensed  and  Prepared  to  Build  NORTHROP  or  DRAPER  LOOMS. 


ED 


PATENTEES  AND  SOLE  MANUFACTURERS  OF 


ADAMSONS 


E 


nglish  Cemented 

Flexible  Bevel 


Dent  Reeds. 

REINFORCED  WITH  SOLDERED  SELVEDGES. 

ESPECIALLY  DESIGNED  FOR  WEAVING 

FINE  WORSTEDS,  WOOLENS, 

FINE  AND  FANCY  COTTON  GOODS. 

You  will  save  expense  in  your  Weaving  Department 
by  using  Our  Patent  Cemented  Flexible  Dent  Reeds,  in 
preference  to  any  other  make.  They  cause  no  "Streaky" 
Goods,  no  friction  on  Warp  Threads,  no  broken  Yarn,  no 
Reed-Rowy  Goods.  These  Reeds  are  more  durable,  and 
are  in  every  way  an  improvement  on  the  ordinary  kind. 
Please  place  with  us  a  trial  order,  and  you  will  adopt  them. 

Excelsior  Loom  Reed  Works, 

EDWARD  ADAMSON,  Prop.,         PAWTUCKET,  R.  I. 


Silk  Yarns 

OF   EVERY  DESCRIPTION. 

SKEINS,  CONES,  COPS,  1ARPS, 


IN  CHAIN  OR  ON  BEAM. 


FAST  COLORS. 

Warranted  to  Stand  Fulling.    Correspondence  Solicited. 


S.  FRIEDBERGER, 

CERMANTOWN,  PHILA. 


CITY  OFFICE, 


Local  and  Long  Distance 
435  Bourse  Building.  7r\  Telephone  Connection. 


ALSO,  FULL  LINE  OF 


Braids  and  Laces 

For  Trimming  Ladies'  Jersey  Ribbed  Underwear. 


v 


ADVERTISEMENT. 


THE 


Northrop  Loom 


BEGAN  ITS  ACTIVE  CAREER 


IN  APRIL,  1895. 


Its  introduction  has  been  steadily  progressive, 
and  its  record  to  date  more  than  fulfils  our  promises. 

We  do  not  have  to  rely  on  assertion.    Thou-  # 

sands  of  Looms  are  in  actual  use,  testifying  to  J 

their  own  merit.    The  reports  from  mills  using  a 

them  in  large  numbers  are  universally  satisfactory.  4 


"HESE  LOOMS  and  Looms  with  our  improvements 
are  now  weaving 


Print  Cloth, 

Coarse  and^Fine  .^hppfinorg 

Lawns  Ginghams. 


The  above  grades  are  woven  on  our  Looms  cheaper 
than  on  any  others  in  this  country.    We  have  also  woven 


DRILLS,  TWILLS,  SATEENS,  COTTON  FLANNELS 
DENIMS,  TOWELS,  etc., 


on  sample  lots  of  Looms,  and  expect  eventually  to  apply 
our  devices  to  Looms  of  every  description. 


Any  manufacturer  who  buys  common  Looms  for  any  kind 
of  weaving  without  investigating  our  improve- 
ments probably  injures  his  future 
profits  beyond  repair. 


GEO.  DRAPER  &  SONS, 

HOPEDALE,  MASS. 


vi 


CLASSIFIED  INDEX— Continued. 


Dryers. 

Kitson  Machine  Co. 
E.  A.  Leigh. 

The  Phila.  Textile  Machinery  Co. 

.  G.  Sargent's  Sons. 
James  Smith  Woolen  Machinery  Co. 
Dye  Kettles. 

Paul  Beer. 

D.  H.  Wilson  &  Co. 

Edgings. 
Fleming  &  Chapin. 
S.  Friedberger. 

Finishing  Machinery. 
W.  W.  Altemus  &  Son. 
Richard  C.  Borchers  &  Co. 
Curtis  &  Marble. 
Elliott  &  Hall. 
James  Hunter  Machine  Co. 

E.  A.  Leigh. 

Parks  &  Wolson  Machine  Co. 
J.  E.  Windle. 

Woonsocket  Machine  and  Press  Co. 

Heddles  and  Heddle  Frames. 

American  Supply  Co. 
Cleaver  &  Leather. 
I.  A.  Hall  &  Co. 
Louis  F.  Liotard. 
L.  S.  Watson  M'f'g  Co. 

Hydro-Extractors. 

Schaum  &  Uhlinger. 
Geo.  L.  Schofield. 

Jacquards  and  Dobbies. 

Crompton  Loom  Works. 

M.  A.  Furbush  &  Son  Machine  Co. 

Thomas  Halton. 

Knowles  Loom  Works. 

Henry  Riehl  &  Son. 

John  Royle  &  Sons. 

Schaum  &  Uhlinger. 

Widmer  Bros. 

Journals. 

Textile  Record  Co. 

Looms. 

Cromptom  Loom  Works. 

Geo.  Draper  &  Sons. 

Fairmount  Machine  Co. 

M  A.  Furbush  &  Son  Machine  Co. 

Kilburn,  Lincoln  &  Co. 

Knowles  Loom  Works. 

Mason  Machine  Works. 

Henry  Riehl  &  Son. 

Schaum  &  Uhlinger. 

Widmer  Bros. 

Woonsocket  Machine  and  Press  Co. 

Machinery  (Cotton,  Wool  and  Silk). 

W.  W.  Altemus  &  Son. 

Atlas  M'Pg  Co. 

James  Barker. 

Richard  C.  Borchers  &  Co. 

Crompton  Loom  Works. 

Curtis  &  Marble. 


Geo.  Draper  &  Sons. 

Benjamin  Eastwood. 

Fairmount  Machine  Co. 

M.  A.  Furbush  &  Son  Machine  Co. 

Globe  Machine  Works. 

Hardy  Machine  Co. 

Geo.  S.  Harwood  &  Son. 

Thomas  Halton. 

Howard  &  Bullough. 

James  Hunter  Machine  Co. 

Kilburn,  Lincoln  &  Co. 

Kitson  Machine  Co. 

Knowles  Loom  Works. 

E.  A.  Leigh. 

Lowell  Machine  Shop. 

Mason  Machine  Works. 

J.  B.  Parker  Machine  Co. 

Parks  &  Woolson  Machine  Co. 

Pettee  Machine  Works. 

Providence  Machine  Co. 

John  Royle  &  Sons. 

C.  G.  Sargent's  Sons. 

Schaum  &  Uhlinger. 

Geo.  L.  Schofield. 

Sprowles  &  Houseman. 

James  Smith  Woolen  Machinery  Co. 

The  Phila.  Textile  Machinery  Co. 

J.  E.  Windle. 

Woonsocket  Machine  and  Press  Co. 

Microscopes. 

Queen  &  Co. 
Joseph  Zentmayer. 

Mill  Supplies. 

American  Supply  Co. 

Charlotte  Supply  Co. 

Cleaver  &  Leather. 

Danforth  Belting  Co. 

Geo.  Draper  &  Sons. 

Excelsior  Loom  Reed  Works. 

Josiah  Gates  &  Sons. 

M.  A.  Gould. 

I.  A.  Hall  &  Co. 

Thomas  Halton. 

Louis  F.  Liotard. 

Paterson  Reed  and  Harness  Co. 

Henry  Riehl  &  Son. 

Jacob  Walder. 

L.  S.  Watson  M'Pg  Co. 

Widmer  Bros. 

Moulders'  Flasks. 

James  Barker. 

Oils. 

E.  F.  Houghton  &  Co. 

Patent  Solicitors. 

Howson  &  Howson. 

Pneumatic  Conveyors. 

Charles  H.  Schnitzler. 

Press  Papers. 

C.  F.  Crehore  &  Son. 

Scales. 

Henry  Troemner. 

vii 


Schools. 

Posselt's  School  of  Textile  Design. 
Phila.  School  of  Design  for  Women. 
Shafting,  Pulleys  and  Couplings. 

Davis  &  Furber  Machine  Co. 

Benjamin  Eastwood. 

Fairmount  Machine  Co. 

James  Hunter  Machine  Co. 

Geo.  L.  Schofield. 

Wm.  Sellers  &  Co. 

James  Smith  Woolen  Machinery  Co. 

Woonsocket  Machine  and  Press  Co. 

Slasher  and  Dresser  Cylinders. 
Fairmount  Machine  Co. 

D.  H.  Wilson  &  Co. 

Silk  Yams. 

Cheney  B  os. 
S.  Friedberger. 
Griswold  Worsted  Co. 
Chas.  McCloud. 

Soaps. 

Holbrook  M'f'g  Co. 

Spinning  Rings. 

Geo.  Draper  &  Sons. 
Whitinsville  Spinning  Ring  Co. 

Spur  Gear  Cutters. 

James  Barker  &  Co. 

Tanks. 

Geo.  J.  Burkhardt's  Sons. 
Amos  H.  Hall. 
Geo.  Woolford. 

Tapes,  Braids  and  Laces. 

Fleming  &  Chapin. 
S.  Friedberger. 

Warping,  Beaming  and  Winding 
Machine:  y. 

W.  W.  Altemus  &  Son 

Davis  &  Furber  Machine  Co. 

Geo.  Draper  &  Sons. 

T.  C.  Entwistle. 

Fairmount  Machine  Co. 

M.  A.  Furbush  &  Son  Machine  Co. 

Globe  Machine  Works. 

Providence  Machine  Co. 

Schaum  &  Uhlinger. 

John  Royle  &  Sons. 

Wool-Scouring  Machinery. 

James  Hunter  Machine  Co. 
C.  G.  Sargent's  Sons. 
Kitson  Machine  Co. 

E.  A.  Leigh. 

James  Smith  Woolen  Machinery  Co. 
Yarns. 

Cheney  Bros. 
Fleming  &  Chapin. 
S.  Friedberger. 
Griswold  Worsted  Co. 
Chas.  McCloud. 

Yarn  Printing. 
John  Forrest. 


ADVERTISEMENT. 


Fairhount  Machine  Cohpany, 

Twenty -second  and  Wood  Streets, 
PHILADELPHIA. 


TEXTILE  MACHINERY 


TRANSMISSION 

HACHINERY 


Patent  Looms,  (entirely  new}. 

"  Bridesburg"  Looms. 

"  Ingraham"  Patent  Harness  Motion. 

Navi/  rinhHx/  Patent  pending,  with  superior  under- motion. 
i^CW    UKJVVy  i  Patent  Warp  Tension  Attachment  for  Looms. 

The  Best  Beaming  and  Winding  flachines, 
Dyeing  Machinery. 

Self=oiling  Bearings. 

Patent  Friction  Pulleys. 

Patent  Belt  Tighteners. 

Patent  Self-oiling  Muley  Driving. 

Special  Driving. 

Rope  Transmission. 


W.  W.  ALTEMUS. 


:STABLISHED  1865. 

Hanufacturers 

who  want  an 


J.  K.  ALTEMUS. 


Up=to=date 

Machine  to  wind 


Worsted  Skein  Yarn 

ORTCap  Bobbins, 

AND  IN  FACT  ANY  KIND  OF  YARN,  SHOULD  CONSULT 

W.  W.  ALTEMUS  &  SON, 

2816  North  Fourth  Street,  PhilaHplnhifl 

MANUFACTURERS  OP 

Textile  machinery:  S^SESS;.*.- 

We  will  GUARANTEE  our  Jlachine  to  have  NO  EQUAL. 

Correspondence  Solicited.  Our  prompt  attention  is  given  to  all  inquiries  and  sample  tests. 

For  description  of  Chenille  Cutting  Machinery  see  pages  158-160  of  this  book. 


Vlll 


ADVERTISEMENT. 


W 


OOLENS 
ORSTEDS 


UALITY  > 
UANTITY 


...PRODUCED  ON  THE. 


Qrompton  High  Speed 
 Close  Shed  J  OOlllS 


With  "  1895  »  Patent  Harness  Motion  :— 

Giving  absolute  freedom  from  mispicks. 

With  "1895  »  Positive  Take-np 

The  number  of  teeth  in  the  ratchet  indicat- 
ing the  exact  and  corresponding  number 
of  picks. 

With  Patent  Adjustable  Driving  Motion:— 

Allowing  quick  change  of  speed  -without 
removal  of  pulleys  or  belt. 


CROMPTON  "  1895"  WOOLEN  AND  WORSTED  LOOM. 


£rOMPTON  pANCY  (jINGHAM  J^OOMS 

ALL  OTHER  MAKERS  TAKE  AS  THEIR  STANDARD. 

Are  built  with  a  Positive  Take-np  Motion. 

Number  of  teeth  in  gear  produces  correspond- 
ing number  of  picks  in  cloth. 

WEAR  and  TEAR 

guaranteed  at  a  minimum  point. 

Onr  Patent  Positive  Compound  Lever 

Sliding  Tooth  Box  Motion, 

^ias  no  rival  for  maximum  speed  and  accuracy. 

All  Combinations  of  Shuttle  Boxes. 


IROMPTON  STANDARD  G1INGHAM  LOOM  4  x  1  BOX. 


Crompton  Loom  Works, 

WORCESTER,  MASS. 


Correspondence  Solicited, 


ix 


NEW  AND  REVISED  EDITION 


OF 

Technology  of  Textile  Design. 

A  PRACTICAL  TREATISE  ON 

The  Construction  and  Application  of  Weaves  for  all  Textile 
Fabrics  and  the  Analysis  of  Cloth. 

CONTAINING  ALSO  AN  APPENDIX  DESCRIBING 

All  the  Latest  Methods  and  Improvements  in  Designing  and  Manufacturing. 

FOR  THE  USE  OF  STUDENTS,  OPERATIVES,  OVERSEERS,  DESIGNERS,  MILL 
MANAGERS,  COMMISSION  MERCHANTS  AND  MANUFACTURERS. 

 BY  

E.  A.  POSSELT, 

Consulting  Expert  on  Textile  Designing  and  Manufacturing.    Author  and  Publisher  of  "  The  facquarct 
Machine  Analyzed  and  Explained  /"  "Structure  of  Fibres,  Yarns  aiid  Fabrics;''''  "Textile  Calcula- 
tions;'''' "  Fosse It's  Textile  Library ;  "  Editor  of"  The  Textile  Record;'"  Editor  of  Textile 
Terms  in  "Standard  Dictionary "  Iconographic  Encyclopedia  of  the  Arts  and 
Sciences  ;  ' '  Principal  of  PosseWs  Private  School  of  Textile  Design  ;  formerly 
Headmaster  of  the  Textile  Department  of  the  Pennsylvania 
Museum  and  School  of  Industrial  Art,  Philadelphia. 


WITH  OVER  1500  ILLUSTRATIONS. 


PRICE,  FIVE  DOLLARS. 


PHILADELPHIA  : 
E.  A.  POSSELT,  Author  and  Publisher, 
2152  N.  Twenty-first  Street. 


LONDON 

SAMPSON  LOW,  MARSTON  AND  COMPANY,  LIMITED, 
St.  Dunstan's  House,  Fetter  Lane,  Fleet  St. 


[Copyrighted,  by  E.  A.  Posselt.] 


COO15' 
1  ^OST 


PREFACE. 


Eight  years  have  expired  since  the  first  edition  of  "Technology  of  Textile  Design'' 
was  published.  The  book  has  been  an  immense  success,  surpassing  in  its  sale  in  this  country  and 
Europe  any  other  book  on  the  designing  of  Textile  fabrics  ever  published.  The  value  of  this 
book  is  proven  by  the  fact  that  its  sale  is  constantly  increasing,  a  feature  which  convinced  the 
author  of  the  necessity  of  publishing  an  entirely  revised  edition,  adding  all  such  chapters  on  new 
methods  of  Designing  and  Manufacturing  as  during  the  past  eight  years  came  to  his  notice,  and 
also  those  which  he  was  convinced  should  have  been  more  thoroughly  treated  in  former  editions. 

This  feature  has  been  successfully  accomplished  in  the  present  edition  ;  some  500  new  illustra- 
tions of  weaves  and  diagrams  of  fabrics  have  been  added,  making  the  book  in  its  present  state  the 
greatest  work  on  the  Designing  and  Manufacturing  of  Textile  fabrics  ever  published.  Time  and 
money  have  not  been  spared  in  the  production  of  these  500  new  illustrations,  they  having  been 
prepared  with  the  greatest  of  care,  making  them  superior  to  all  others  ever  before  published.  In 
its  present  state  the  work  will  not  only  find  its  way  to  all  parties  not  yet  possessing  a  copy,  but  it 
will  eagerly  be  again  bought  by  those  possessing  old  editions,  since  the  new  chapters  added  contain 
the  most  advanced  points  on  Designing  and  Manufacturing  of  Textile  fabrics. 

These  new  chapters — of  the  greatest  of  interest  to  the  Designer  and  Manufacturer  are  : — 
A  New  Method  of  Designing  Weaves  by  Four  Cha?tges ;  Shaded  Fabrics ;  Soleil  Weaves;  Checked 
Patterns  Produced  by  Means  of  Straight  and  Fancy  Draws  ;  Crape  Weaves  ;  Huck  Patterns  ;  Woven 
Tucks;  Crimp  Stripes;  Bedford  Cords;  Crocodile  Cloth;  Co?nbi?iatio?i  of  Bedford  Cords;  Combi- 
nation of  4.50  Twills  i@i  ;  Combination  of  4.50  Twills  with  Weaves  of  Another  System  ;  Combination 
of  Granite  Weaves ;  Combination  of  450  Twills  2@2,  4@4,  3@3,  2@#,  etc.  ;  Combination  of  6ja 
Twills  ;  Combination  of  Motives  of  Weaves  2@i ;  Co?nbinatio?i  of  750  Twills  into  Large  Diagonals  ; 
Co7nbinatio?i  of  820  and  6j°  Twills ;  How  to  Increase  the  Thick?iess  of  a  Fabric  Without  Special 
Backing  Threads ;  Bracket  Weaves. 

Although  adding  these  new  subjects  explained  by  some  500  new  illustrations — a  great  many 
of  them  being  masterpieces  in  designing,  engraving  and  typesetting,  covering  either  entirely  or 
nearly  whole  pages  of  the  book — the  Author  and  Publisher  has  concluded  not  to  increase  the  cost, 
but  thus  offers  the  work  to  the  public  at  the  extremely  cheap  price  of  five  dollars  a  copy,  although 
knowing  that  there  is  not  and  will  not  be,  in  the  near  future,  a  work  of  that  kind  in  print  which 
can  attempt  to  even  reach  the  old  editions.  The  new  work  will  prove  a  veritable  mine  of  informa- 
tion to  the  Student,  Operative,  Overseer,  Designer,  Mill  Manager,  Commission  Merchant  and 
Manufacturer. 

18884 


IMPORTANT  TO  TEXTILE  MANUFACTURERS  AND  THEIR  EMPLOYEES. 


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TEACHING  OF  DESIGNING  AND  MANUFACTURING 

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ALSO  FREE  HAND  AND  MECHANICAL  DRAWING. 

WE  SUIT  COURSE  OF  INSTRUCTION  TO  THE  WANTS  OF  EACH  STUDENT. 

HE  MAY  TAKE  UP  HARNESS  OR  JACQUARD  WORK  EITHER  IN  COTTON,  WOOL,  WORSTED,  SILK 
OR  LINEN;  UPHOLSTERY,  CARPETS,  ETC.,  ETC. 


TWENTY  years  of  practical  experience  in  the  leading  mills  of  this  country  and  Europe ;  six  years  as 
Headmaster  and  Instructor  of  Textile  Industries  at  the  Pennsylvania  Museum  and  School  of  Industrial 
Art  of  Philadelphia,  have  given  the  principal  facilities  to  impart  designing  and  manufacturing  of  any  kind  of  Tex- 
tile fabric,  most  thoroughly,  and  besides,  in  the  shortest  possible  time. 

A  private  tuition  (the  Student  being  all  day  under  the  supervision  of  practical  designers)  will  give  results 
in  a  few  days  or  a  few  weeks  ;  besides  the  student  is  instructed  only  in  the  special  branch  of  designing  and  manufac- 
turing required  by  him. 

Course  of  instruction  laid  out  to  suit  the  wants  of  each  pupil,  he  being  either  Manufacturer,  Overseer, 
Loomfixer,  Weaver  or  Graduate  of  a  Public  School. 

I  have  instructed  some  of  the  leading  Textile  Manufacturers,  Superintendents,  Overseers  and  Designers  in  this 
country,  and  this  with  the  highest  satisfaction  on  their  part. 

The  largest  collection  of  technical  works  and  periodicals,  as  published  in  Europe  and  this  country,  in  our 
library  and  of  free  use  to  pupils  after  school  hours  ;  also  reports  and  collections  of  samples  of  the  latest  foreign 
fashions  at  hand  for  the  benefit  of  the  student. 

The  course  of  freehand  drawing  is  designed  with  a  special  reference  to  practical  designing  for  Jacquird 
work  ;  and  mechanical  drawing  for  the  construction  of  looms  and  other  textile  machinery,  cloth  structures,  etc., 
etc.    No  need  to  take  up  either  course,  if  you  don't  care  and  only  want  textile  designing  alone. 

Only  a  limited  number  of  students  taken  for  instructions  at  one  time. 

For  further  particulars  address  the  principal, 


E.  A.  POSSELT, 

EXPERT  IN  TEXTILE  DESIGNING  AND  MANUFACTURING, 

215  2    NORTH   TWENTY-FIRST  ST., 
PHILADELPHIA,  RA. 


CONTENTS. 


PAGE. 

Divisions  of  Textile  Fabrics,  According  to  their  Construction, 

Squared  Designing  Paper  for  the  Different  Textile  Fabrics   9 

Foundation  Weaves, 

The  Plain  or  Cotton-Weave   13 

Fancy  Effects  Produced  with  the  Plain  Weave,   14 

Twill  Weaves  (Method  for  their  Construction),   16 

Combinations  of  Two  or  More  Colors  for  Producing  Figired  Effects  upon  Fabrics  Interlaced  on  Twills,  22 

Satin  Weaves  (Method  for  their  Construction),   25 

Influence  of  the  Twist  of  the  Yarn  upon  Fabrics  Interlaced  with  Satin  Weaves,   29 

Arrangement  for  Commencing  the  S  atin  Weaves  for  Special  Fabrics,  such  as  Damask  Table  Covers,  Etc. ,  29 

"Drawing  in  the  Warp  in  its  Harness"  and  the  Preparation  of  Drawing-in  Drafts. 

The  Harness,   31 

Principles  of  a  Drawing-in  Draft,   31 

Different  Divisions  of  Drawing-in  Drafts,   32 

Sub-Divisions  of  Fancy  Drawing-in  Drafts,  ■  32 

A.  — Broken  Draws,   32 

B.  — Point  Draws,  ,  33 

C.  — Drawing-in  Drafts  having  a  Section  Arrangement,   34 

D.  — Skip  Draws,   35 

E.  — Mixed  or  Cross  Draws,   35 

Specimen  of  a  Complete  Drawing-in  Order,  ,  35 

Drafting  of  Drawing-in  Drafts  from  Weaves,   36 

Rules  for  Estimating  the  Number  of  Heddles  Required  on  Each  Harness,   38 

The  Reed,  and  Reed  Calculations,   39 

Derivative  Weaves  from  the  Plain  or  Cotton  Weave. 

L — Common  Rib-Weaves,   41 

II. — Common  Basket  Weaves,   42 

III.  — Fancy  Rib-Weaves,   43 

IV.  — Fancy  Basket-Weaves,   45 

V. — Figured  Rib-Weaves,   46 

Effects  Produced  by  Using  Two  or  More  Colors  in  Warp  and  Filing  in  Fabrics  Interlaced 

upon  Rib  and  Basket-Weaves,   48 

VI.— Oblique  Rib-Weaves,   50 

Combining  Common,  Rib  and  Oblique  Rib-Weaves,   51 


CONTENTS. — Continued. 


Derivative  Weaves  from  the  Regular  Twills.  page. 

i 

I. — Broken  Twills,   52 

Using  Two  or  More  Colors  in  Warp  and  Filling  for  Producing  Effects  in  Fabrics  Interlaced 

with  Broken  Twills   55 

II.— Steep  Twills  or  Diagonals,   56 

III— Reclining  Twills,   60 

IV.— Curved  Twills,   62 

V.— Skip  Twills,   63 

VI. — Combination  Steep  Twills,   67 

VII.— Corkscrew  Twills,   6S 

VIII.— Entwining  Twills,   75 

IX.— Twills  having  Double  Twill  Effects,  '   77 

X.— Twills  Producing  Checker-board  Effects,   7S 

XL— Fancy  Twill  Weaves,   80 

XII.— Pointed  Twills,        .    81 

Derivative  Weaves  from  Satins. 

Double  Satins,   84 

Granite  Weaves,   85 

Granite  Weaves  as  Constructed  by  other  Methods  than  having  Regular  Satins  for  their  Foundation,   .  88 

Combination  of  Different  Systems  of  Weaves  for  One  Design,   90 

Figured  Effects  upon  Fabrics  interlaced  with  Derivative  Weaves  Produced  by  Arrangement  of  Two  or 

More  Colors  in  the  Warp  or  the  Filling,  or  in  Both  at  the  S-ime  Time,   93 

Single  Cloth  Weaves  for  Fabrics  of  a  Special  Construction  and  Peculiar  Character. 

Honeycomb  Weaves,   9& 

Imitation  Gauze  Weaves,   102 

Combination  of  Weaves  for  Fabrics  Constructed  with  One  System  of  Warp  and  Two 
Systems  of  Filling. 

Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp  for  increasing  the  Bulk  in  a  Fabric,  .  .  105 
Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp  for  Figuring  with  Extra  Filling  upon  the 

Face  of  the  Fabric,   108 

Swivel  Weaving,   109 

Combination  of  the  Swivel  Effect  with  figuring  through  the  Warp,   11 1 

Swivel  Loom,   in 

Combination  of  Weaves  for  Fabrics  Constructed  with  Two  Systems  of  Warp  and  One 
System  of  Filling. 

Two  Systems  of  Warp  and  One  System  of  Filling  for  Producing  Double-faced  Fabrics,        .       .       .  114 

Using  an  Extra  Warp  for  Backing  for  Heavy-weight  Worsted  and  Woolen  Fabrics,      .       .       .       .  115 

Figuring  with  an  Extra  Warp  upon  the  Face  of  a  Fabric  Otherwise  Interlaced  with  its  own  Filling,  117 

Lappet  Weaving   123 

Tricot  Weaves,   126 


CONTENTS.— Continued. 


Double  Cloth.  page. 

Description  of  the  Construction  and  the  Purposes  for  Making  Double  Cloth  Fabrics,    ....  129 

Rules  for  Designing  Double  Cloth  Weaves,   130 

Double  Cloth  Weaves  having  for  their  Arrangement  One  End  Face  to  Alternate  with  One  End  Back 

in  Warp  and  Filling,   132 

Double  Cloth  Composed  with  Different  Proportions  of  Face  and  Back  Threads   134 

Double  Cloth  Weaving  without  Stitching  both  Fabrics,   137 

Double  Cloth  Fabrics  in  which  the  Design  is  Produced  by  the  Stitching  Visible  upon  the  Face  of  the 

Fabric,   138 

Rib  Fabrics,   142 

Three-Ply  Fabrics,   146 

Four  and  Five-Ply  Fabrics,   147 

Pile  Fabrics. 

Pile  Fabrics  Produced  by  Filling. 

Velveteens,  Fustians,  Corduroys,   149 

Chinchillas,  Whitneys,   152 

Chenille  as  Used  in  the  Manufacture  of  Rugs,  Curtains,  etc.,   153 

Chenille  Cutting  Machine,   158 

Chenille  as  Produced  in  the  Manufacture  of  Fringes,   160 

Pile  Fabrics  in  Which  the  Pile  is  Produced  by  a  Separate  Warp  in  Addition  to  the  Ground  Warp. 

Structure  of  Warp  Pile  Fabrics,   166 

Terry  and  Velvet  Pile,   166 

Method  of  Operation  in  Producing  Warp  Pile  Fabrics,        .    167 

Velvet  and  Plush  Fabrics,   16S 

Figured  Velvet,   171 

Astrakhans,   173 

Machines  for  Curling  Warp-threads  for  Astrakhans,   180 

Tapestry  Carpet,   185 

Brussels  Carpet,   188 

Double  Faced  Pile  Carpets,   193 

Double  Pile  Fabrics,   194 

Terry  Pile  Fabrics,   216 

Pile  Fabrics  of  a  Special  Method  of  Construction,   221 

Two-Ply  Ingrain  Carpet,      .   225 

Gauze  Fabrics. 

Principle  of  Their  Construction,  *  228 

Combination  of  Ordinary  and  Gauze  Weaving,  ,   231 

Gauze  Weaving  Mechanism  for  Open-Shed  Looms,  .237 

Jacquard  Gauze,   240 

Cross  Weaving  for  Chenille  Fabrics,   244 

Cross  Weaving  as  Used  for  the  Manufacture  of  Filtering  Bags,      »   246 

Cross  Weaving  as  Used  for  Producing  Fast  Centre  Selvages,   247 

The  Jacquard  Machine,   250 

Modification  of  the  Single-Lift  Jacquard  Machine,   252 

Card  Stamping,   253 

The  Jacquard  Harness,   253 

The  Comber-board  and  Methods  of  Figuring  for  it,      ...      o      ....      .  254 

Ggbelin  Tapestry,  «...«. 


CONTENTS— Continued. 

PAGE. 


Analysis  of  Textile  Fabrics  and  Calculations  Necessary  for  their  Manufacture. 

I. — Ascertaining  the  Weight  Per  Yard  of  the  Finished  Fabric,  and  its  Finished  Textnre,  257 

II. — Ascertaining  the  Weave,   259 

III.  — Ascertaining  Raw  Materials  Used  in  the  Construction  of  a  Fabric,        .       .  .261 

IV.  — Ascertaining  the  Texture  for  Fabrics  as  Required  in  Loom,   263 

V. — Ascertaining  the  Arrangement  of  Threads  in  a  Sample,   264 

VI. — Ascertaining  the  Size  and  Twist  of  Yarns  (their  counts)  Found  in  Sample,  .  .264 

VII. — Ascertaining  the  Weight  of  Cloth  Per  Yard  from  Loom,   265 

VIiI. — Ascertaining  the  Process  of  Finishing  Necessary  and  the  Amount  of  Shrinkage  of 

the  Fabric,  .       .  268 

APPENDIX. 

A  New  Method  of  Designing  Weaves  "by  Four  Changes." 

Rules  for  Constructing  these  Novel  Weaves,   269 

3-  Harness  Weaves  for  Foundation,  .       .       .       .       .       .       .       .       .       .  .269 

4-  Haru ess  Weaves  for  Foundation,   271 

5 -  Harness  Weaves  for  Foundation,  .   274 

Shaded  Fabrics. 

A. — Satin  Weaves,   278 

^.—Twills,   .  280 

Fancy  Effects,   280 

Figured  Effects,   282 

The  Shading  by  Means  of  Color  Combinations,   284 

Soleil  Weaves,   286 

Checked  Patterns  Produced  by  Means  of  Straight  and  Fancy  Draws,    .       .  286 

Crape  Weaves,   287 

Huck  Patterns,   .      .  .288 

Woven  Tucks,   288 

Crimp  Stripes,   288 

Combination  of  Weaves. 

Combination  of  45 0  Twills,   291 

Combination  of  45 0  Twills  with  Weaves  of  Another  System,   294 

Combination  of  Granite  Weaves,      ...........  296 

Combination  of  45 0  Twills  Arranged  2@2  ;  4@4;  3@3;  2@4,  etc.,        ....  296 

Combination  of  63 0  Twills,   297 

Combination  of  Motives  or  Weaves  2  @  1 ,   304 

Combining  Two  75 0  Twills  into  a  630  Large  Diagonal,   305 

Combination  of  82 0  Twills  in  700  Large  Diagonals,  ........  306 

To  Increase  the  Thickness  of  a  Fabric  Without  Special  Backing  Threads. 

Origin  of  this  Modern  System  of  Producing  Heavy  Weights,    ......  307 

Increase  Bulk  of  Fabric  by  the  Warp  Without  Adding  a  Special  Back  Warp,    .       .       .  308 

Arrangement  of  Warp  2  @  1 ,     ............  314 

Arrangement  of  Warp  3@  1,     .       .       .       .       .       .       .       •       .       .       .  .316 

Backing  Fabrics  in  the  Filling  Without  a  Special  Back  Pick,   316 

Bracket  Weaves. 

Bracket  Weaves  Constructed  with  Two  Systems  Warp  and  One  System  Filling,       .  .319 

Bracket  Weaves  Constructed  with  Two  Systems  Warp  and  Two  Systems  Filling,      .       .  320 

Figuring  by  Means  of  Bracket  Weaves,   321 

Fringes,   .      .      .      .      .      .      .  323 

Pearl  Edges  or  Selvages  for  Ribbons,   324 


Divisions  of  Textile  Fabrics  According  to  Their  Construction. 


Every  fabric,  commonly  classified  as  "woven,"  is  composed  of  two  distinct  systems  of 
threads  (warp  and  filling)  which  interlace  with  each  other  at  right  angles.  The  arrangement 
of  this  interlacing  is  technically  known  as  the  "  weave."  All  woven  fabrics,  as  to  their  general 
principle  of  construction,  can  be  graded  in  two  great  divisions  : 

Fabrics  in  which  one  system  of  parallel  threads  is  interlaced  at  right  angles  with  a  second 
system  of  parallel  threads.    (For  illustration  see  diagram,  Fig.  I.) 

Fabrics  in  which  threads  of  one  of  the  before-mentioned  two  systems  of  threads,  the  warp, 
in  addition  to  the  interlacing,  are  twisted  with  threads  of  its  own  system.  (For  illustration  see 
diagram,  Fig.  2.) 


Fig.  I.  Fig.  II. 


The  first  mentioned  system  of  fabrics  is  divided  into  the  following  sub-divisions : 
Single  cloth,  double  cloth,  and  three  or  more  ply  cloth,  pile  fabrics. 

Before  commencing  with  the  construction  of  the  weaves,  as  required  for  the  various  textile 
fabrics,  it  is  necessary  to  give  an  explanation  of  the  purpose  and  use  of  the 

Squared  Designing  Paper  for  the  Different  Textile  Fabrics, 

and  its  relation  for  indicating  the  method  of  interlacing  warp  and  filling. 

In  this  n  designing  paper  each  distance  between  two  lines,  taken  in  vertical  direction, 
represents  one  warp-thread,  see  Fig.  3 ;  and  each  distance  between  two  lines,  taken  in  a  horizontal 
direction,  represents  one  filling-thread,  see  Fig.  4. 

1st    2d    3d    4th  Warp-thread. 

4th  Filling. 

3^  " 
2d 


Fig.  4. 


Fig.  3. 

(9) 


10 


f 

<- 

11 

0 

P 

r 

i 

k 

I 

m 

e 

f 

g 

h 

a 

b 

c 

d 

Fig.  5. 

4th  Filling. 

3d  " 

2d 

1st 


1st    2d    3d    4th  Warp-thread. 

It  will  readily  be  seen  by  the  student 
that  the  different  small  rectangles  illus- 
trate the  place  where  a  certain  warp- 
thread  meets  with  a  certain  filling- 
thread.  Thus  in  our  illustration,  Fig.  5, 
the  rectangle  marked  a  will  indicate  the 
meeting  of  warp-thread  1  and  filling  1. 
Rectangle  marked  b  will  indicate  the 
meeting  of  warp-thread  2  and  filling  1. 
Rectangle  marked  c  will  indicate  the 
meeting  of  warp-thread  3  and  filling  1. 
Rectangle  marked  d  will  indicate  the 
meeting  of  warp-thread  4  and  filling  1. 
Rectangle  marked  e  will  indicate  the  meeting  of  warp-thread  1  and  filling  2. 
f 

g 
h 
i 
k 
I 
m 
n 
0 

P 

r 

The  classifying  of  the  n  designing  paper  is  done  by  enclosing  a  number  of  small  rectangles, 
horizontal  and  vertical,  within  a  certain  distance  by  a  heavy  line.  Such  enclosures  are  known 
in  practice  as  "squares!' 

In  mentioning  a  certain  kind  of  n  designing  paper,  the  warp  dimension  is  indicated  first, 
and  a  design  paper  having  eight  rectangles  vertical,  with  eight  horizontal,  is  variously  read  and 
indicated  as  8  by  8,  8x8  or  8/8;  a  design  paper  having  eight  rectangles  vertical,  with  ten  hori- 
zontal, is  read  and  indicated  as  8  by  10,  8  x  10  or  8/10.  Diagrams  Fig.  6  represent  some  styles 
of  n  designing  paper  frequently  used.  The  size  of  the  square  may  vary  in  each  kind  of  paper, 
and  must  be  selected  according  to  the  fabric.  For  example,  there  are  two  different  styles  of 
8  x  8  n  designing  paper  illustrated:  one  forming  y2  inch  heavy  squares  and  one  forming  ^  inch 
heavy  squares.  These  sizes  may  still  be  varied.  The  principle  of  these  two  kinds  of  n  designing 
paper  is  identical,  the  size  preferred  being  left  to  the  pleasure  of  the  designer.  Certainly  it  will 
be  understood  by  any  student  that  in  preparing  a  design  or  weave  with  a  large  number  of 
threads  for  repeat,  it  will  be  advantageous  to  use  a  design  paper  containing  the  smallest  sized 
rectangles  practical  to  use. 


a 

it 

2  " 

<< 

2. 

a 

3  " 

<< 

2. 

It 

a 

4  " 

t( 

2. 

a 

1  " 

u 

3- 

a 

({ 

2  M 

a 

3- 

a 

a 

3  " 

n 

3- 

a 

tt 

4  " 

a 

3- 

it 

tt 

1  " 

tt 

4- 

a 

(t 

2  " 

4- 

it 

<< 

3  " 

tt 

4- 

u 

4  " 

a 

4- 

Practical  Use  of  the  Heavy  Square  in  Designing  Paper. 

The  heavy  square  serves  as  a  unit  of  measurement,  as  well  as  a  means  of  calculation,  and 
shows  readily  and  exactly  the  size  of  the  weave  or  design.  The  eye  becomes  accustomed  to 
grasping  the  meaning  of  this  large  square,  and  comprehends  at  a  glance  the  situation.  For 
instance : 


11 


8x6 


4x8 


6x7 


4x  J 2. 


8x8 


4x20 


8x9 


4x24 


6xJO 


6xJ2 


9x7  O 


JOxJO 


JOxJ2 


8x8 


70x74 


8x15 


72x72 


8x/6 


6x72 


JXI6 


12 


On  8x8  paper  3  squares  mean  3x8,  or  24  rectangles  each  way;  on  10  x  10  paper  3 
squares  mean  3  x  10,  or  30  rectangles  each  way,  etc. 

In  designing  for  regular  harness  work  we  generally  use  n  designing  paper  containing  the 
same  number  of  rectangles  each  way;  thus  even  paper,  as  8  x  8,  10  x  10,  12  x  12,  etc.,  without 
taking  into  consideration  the  texture  the  fabric  is  constructed  by.  On  the  other  hand  the  entire 
variety  as  shown  are  used,  and  accordingly  selected  from  for  the  designing  of  textile  fabrics 
requiring  the  Jacquard  machine  for  their  construction.    For  such  fabrics  we  give  a  rule  for 

Selection  of  Designing  Paper. 

The  proper  character  01  the  designing  paper  is  ascertained  by  the  number  of  warp  and  filling 
threads  required  per  inch  in  the  finished  fabric.  For  example :  a  fabric  with  a  texture  when 
finished  of  80  /  120  (80  ends  warp  and  120  picks  per  inch)  will  require  a  designing  paper  of  corres- 
ponding proportion,  or  as  80  is  to  I20,=8  x  I2- 

Diagram  Fig.  5,  and  its  previously  given  explanations,  clearly  illustrated  the  object  of  the 
small  rectangles,  L  e.,  the  places  of  meeting  for  certain  warp  and  filling  threads.  Two  ways  for 
interlacing  of  warp  and  filling  in  a  fabric  are  possible :  either  we  raise  the  warp-thread,  thus  allowing 
the  filling  to  go  under  it,  or  lower  the  warp-thread  and  allowing  the  filling  to  cover  it.  In  the  first 
case  the  warp  will  be  visible,  prominent  on  the  face  of  the  fabric ;  in  the  other,  the  filling. 
Through  this  exchanging  of  warp  and  filling  as  visible  on  the  face  of  the  fabric,  technically  known 
as  "  Raisers  or  Sinkers,"  we  form  the  interlacing  of  both  systems  of  threads,  known  as  "  the 
Weave." 

Rule:  Indications  of  any  kind  in  a  certain  rectangle  inside  the  repeat  of  the  weave 
upon  the  designing  paper  mean  "  warp  up  "  in  its  corresponding  place  in  the  fabric.  Rectangles 
left  empty  inside  the  repeat  of  the  weave  upon  the  designing  paper  mean  "  filling  up  "  in  its 
corresponding  position  in  the  fabric. 

Figs.  7,  8  and  9  are  designed  for  illustration  of  the  preceding  rule  and  explanations. 


A. 


Fig.  8. 


Fig.  9. 


Fig.  7  shows  under  A  the  enlargement  of  a  warp-thread  taken  from  a  regular  designing 
paper,  and  containing  in  its  repeat  1 2  picks  in  rotation.  A  careful  examination  of  the  diagram, 
and  commencing  to  read  from  the  bottom,  illustrates  the  warp-thread  alternately  down  and  up; 
also  at  B  the  reproduction  of  the  warp-thread  and  necessary  picks  from  a  fabric. 


13 


Fig.  8  illustrates  the  design  and  working  of  a  similar  warp-thread  with  the  same  number  of 
picks  in  repeat,  but  with  the  arrangement : 

One  up  two  down,  four  times  repeated=twelve  picks. 
Fig.  9  illustrates  the  design  and  working  of  a  similar  warp-thread  as  used  before  with  the 
same  number  of  picks  in  repeat,  but  interlacing  with  the  arrangement: 

Two  up  two  down,  three  times  repeated. 
The  interlacing  of  both  systems  of  threads,  or,  in  other  words,  the  different  weaves  are 
generally  divided  into  3  distinct  main  divisions  (Foundation  weaves) : 
The  Plain, 
The  Twills, 

The  Satins ;  forming  the  foundation  of  all  the  other  sub-divisions  of  weaves  classified  as 
"  derivative  weaves."  New  weaves  are  also  formed  by  the  combination  of  weaves  from  the 
various  sub-divisions,  etc.,  thus  forming  a  field  impossible  to  cover  in  detail  as  respects  each 
particular  weave  or  special  fabric ;  but  we  will,  however,  by  means  of  our  future  lectures,  impart 
the  principles  for  their  construction,  thus  giving  the  student  sufficient  knowledge  to  master  any 
and  every  combination  required. 
W. 

Foundation  Weaves. 

I.    THE  PLAIN  OR  COTTON-WEAVE. 

Fig.  10  represents  a  fabric  constructed  with  the  weave  techni- 
cally known  as  "  the  plain"  or  "  the  cotton-weave!'  In  this  diagram 
two  distinct  sets  of  threads,  crossing  each  other  at  right  angles 
and  interlacing  alternately,  are  visible.  The  threads  running 
longitudinally  (marked  IV),  or  lengthways  in  the  fabric,  are  the 
warp-threads ;  the  traverse  threads  are  the  filling  (indicated  by 
F  in  diagram.) 

Fig.  11  shows  the  design  or  pattern,  executed  correspondingly 
to  fabric  sample,  Fig.  10.    The  shaded 
squares  indicating  warp  up ;  the  empty 
llil      1  scluares  representing  filling  up.  \' 

^^...^.rfill  ]         Fig.  12  is  the  section-cut  of  a  fabric  $A 

woven  on  "plain"  weave,  showing  one 
warp-thread  light  ( 1),  the  other  shaded  (2). 
The  filling  is  represented  in  full  black. 
An  examination  of  Fig.  10  will  convince  the  student  that  this  weave  produces  a  very  firm 
interlacing  of  the  two  systems  of  threads  employed,  in  fact  it  is  the  most  frequent  exchanging 
of  warp  and  filling  possible.     The  fabric  produced  with  this  weave  will  be  strong,  as  each 
thread,  by  reason  of  the  interlacing,  supports  the  others  to  the  utmost. 

This  frequent  exchanging  of  warp  and  filling  in  the  "plain"  weave  will  also  produce  a  fabric 
more  or  less  perforated.  These  perforations  are  regulated  by  the  size  of  the  threads  used  in  the 
construction  of  a  fabric,  and  by  the  twist  employed  in  the  manufacture  of  the  yarns. 

Rule  :  1st  The  thicker  in  size  the  threads  are,  as  used  in  the  construction  of  the  fabric, 
the  larger  the  perforations  will  be. 

2d.  Soft  twisted  threads  reduce  the  perforations  to  a  lower  point  than  hard  twisted  threads 
of  equal  size  and  direction  of  twist. 

3d.  The  perforation  will  again  be  reduced  by  employing  a  twist  for  warp  and  filling,  which, 
when  both  are  interlaced,  runs  in  the  same  direction. 


War  j* 


Fig.  ii, 


Fig.  12. 


14 


Fig.  13.     Fig.  14. 


To  illustrate  this  last  rule  Figs.  13,  14,  15  and  16  are  constructed. 

Fig.  13  represents  a  thread  twisted  from  the  right  towards  the  left,  which 
is  called  technically  a  left"  twist. 

Fig.  14  shows  us  a  thread  twisted  in  the  opposite  direction,  or  from  the 
left  towards  the  right,  which  in  turn  is  classified  as  "  right"  twist. 

Fig.  15  illustrates  a  fabric,  woven  on  '''plain"  in  which  the  direction  of 
the  twist  is  opposite  in  warp  and  filling  when  interlaced,  thus  larger  perfora- 
tions will  appear  than  in  Fig.  16  which  illustrates  the  same  fabric,  but  having, 
when  interlaced,  the  same  direction  of  twist  in  both  systems  of  threads. 

The  plain  weave  is  very  extensively  used  in  the  manufacture  of  fabrics 
composed  of  all  kinds  of  materials,  as  cotton,  wool,  worsted,  silk,  hair,  wire, 
glass,  etc. 

Fancy  Effects  Produced  with  the  Plain  Weave. 

The  first  move  towards  figuring  a  fabric  constructed  with  the  plain  weave 
is  made  by  varying  the  thickness  of  the  threads  in  the  warp  or  filling,  or  in 
both  systems  at  the  same  time;  for  example,  in  "repp"  cloths  as  used  for  ladies' 
dress  goods,  and  also  for  decorative  purposes.    In  these  fabrics  either  one  kind 
of  warp  and  two  kinds  of  filling  (one  pick  heavy,  one  pick  light)  or  two  kinds  of 
warp  (one  thread  heavy  to  alternate  with  one  thread  light)  and  the  before  men- 
tioned two  kinds  of  filling  are  used. 

These  changes  of  heavy  and  light  threads  are  also  used  for  forming  borders, 
as  observed  in  some  cambric  handkerchiefs  or  similar  fabrics.  Fig.  17  is  given  to 
illustrate  one  corner  of  such  a  fabric. 

Another  step  towards  figuring  in  plain  weaving  is  made  by  the  arrangement 


Fig 


of  colors. 


Fig.  17. 


15 


Arrangement 

Weave 

of 

Warp. 

Sop 

C  -»  3 

c  ~  w 

Eflfect. 

(D 
P 

These  effects  are  used  to  a  large  extent  in  the  manufacture  of  ginghams, ladies'  all-wool  dress 
goods,  as  well  as  in  the  lightest  qualities  of  fancy  cassimeres.  It  will  be  easily  understood  by  any 
student  that  a  fancy  color  arrangement  (dressing)  of  the  warp  will,  in  connection  with  one-color 
filling,  produce  corresponding  stripes;  therefore  we  will  devote  the  attention  at  once  towards  the 
fancy  color  arrangement  for  warp  and  filling. 

Among  the  simpler  effects  may  be  found  what  is  technically  known  as  a  "hair-line"  effect,  and 
is  derived  through  an  alternate  arrangement  of  I  end  light,  I  end  dark  in  warp  and  filling.  Each 
filling  must  cover  its  own  color.  Therefore  when  the  shed  of  the  warp  is  formed  by  the  dark  set 
of  mreads  up,  the  light  set  of  threads  down,  the  light-colored  filling  must  be  interwoven.  Again, 
if  the  dark  set  of  threads  are  down  and  the  light  set  of  threads  up,  the  dark-colored  filling  has 
to  be  thrown  through  the  shed. 

Fig.  1 8  illustrates  the  effect  as  produced  by  this  arrange- 
ment.   If  the  interweaving  of  the  filling,  as  explained  in  fig.  18, 
is  changed  to  the  other  pick,  we  get  the  stripe  effect  across  the 
fabric  or  in  the  direction  of  the  filling.    This  effect,  known  as 
"  imitation  tricot,"  is  illustrated  in  Fig.  19.    By  combining, 
alternately  for  certain  spaces,  the  hair-line  effect  with  the  tricot 
effect,  "  checkerboard"  effects  are  obtained.    It  will  be  readily 
seen,  that  the  regular  arrangement  of  repeating  1  light,  1  dark, 
will  produce  either  one  of  the  before-mentioned  styles.    Therefore,  by  allowing,  in  a  distance 
of  a  certain  number  of  ends  (according  to  the  size  of 
the  effect),  2  ends  from  one  color  to  be  used,  we  will 
change  from  one  effect  to  the  other. 

Fig.  20  illustrates  one  of  the  many  styles  possible 
to  be  derived.  There  are  9  ends  of  warp  and  filling 
for  each  effect,  therefore  18  ends  for  the  repeat. 

Figs.  21,22,  23  and  24  illustrate  a  few  more  of  the 
many  different  effects  which  may  be  obtained.  The 
principle  observed  in  exchanging  the  two  main  or 
foundation  effects  (hair-line  and  tricot)  is  left  undisturbed. 

In  Fig.  21  the  arrangement  of  warp  and  filling  is  2  ends  light,  I  end  dark,  forming  the 
"broken-up"  effect. 

Fig.  22  is  constructed  of  2  ends  light,  2  ends  dark,  in  the  repeat  of  its  color  arrangement, 
and  forms  a  "  star"  effect. 


Diagram  for  explain 
ing  rigs.  18.  19,  20,  21, 
22.  23  and  24. 


I 

■  ■  jb  a  a  a  a  a 
■  ■    a  a  a  a  a  a 
■ 

□  -.>■=  i  .  >      in  4 

a a  aaaaaaaaaaaa 

I 

:aaaaaaaa 
baa^aaaaaaaaaaaa 

L  :  .  --  '  ■  ■  i  ;  -  -  i  ? 
□aa  aaaaaaaaaaaa 

L"  ■  ■  -.     :  -  i 

caa  _aaaaaaaaaaaa 

L   ■  ■  _  i  -  i 

car  _ 


r.»  :■:  ;a  a  a  ia  a  a 

■  ■  :  :a-  'a  a  a  a  a 
■  ■ 

-caa  ,!  ia:  a-  a  a1  a  a" 

□i  iili  ,1  ia:  'Hi  :H!  .HI  O-  H 

hh  :t  ;a.  hi  a  a  a  a 

a  a  hi  ai  'Hi  'a 

L_aai  ii  o  :a  a  a:  a  :a 

a  a  a  a  a  a 

a  a  a  a  a  a 

aa    a  a  hi  :h;  :ai  ih 

ciii !'  j  hi  ;Hi-  ibi  :ai  a  a 
□aa'  t  :ai  iai  :hi  'Hi  :a:  -a 
a  a  a  a  a  a 


Fig.  i8. 


aa 


aa— bbbhbbbbsg 
Fig.  19. 


a a  aaa aaaaa  a  a 

aa  aaaaaaaa  a'  a 

.:  a  a 

a a  aaaaaaaa  a  a 

■    a  a 

aa  aaaaaaaa  a  a 

;■.  .  1  ii    a:  ^a 
a  a  a  a     *  n 
aa  a  b>  a  a  aaaa 

[  a a  a  a  a  a  aaaa 

(       a:  hi  a  a 

[  a a  a  a  a  a  aaaa 

[  a  a  a  a  a  a  aaaa 
a  a  a  a 

a  a 


Fig.  20. 


□□□□□□□□□□a 

□□□□□□□□□ 

□■□■I 

a    a    a  1  ib?i 

□■□■ana 

ibb    a  a  ' 

■□■□i 

a    a    a  a 

■□■  ]BHB 

aa  aai 

□□□□□□□□□□□_ 

_□■□■  ■ 

□mni 

a         a  ; 

□■■    ]  a 

si  i:  a  -  :  a  r 

aa 

a a  a  aaa  a  1 
a         a  s 
a         a  1 

aa  aaa 

aaa  aaa  1 

r.mmam 

1  aa  aa 

:  aaa  aaa 

nmmzm 

a  1  '  a 

a      a  i 

□BBCi 

a  aaa  a  aaa 

( :s  m  ia 

a      a  i 

a         a     :  ■? 

aa  aaa 

aaa  aaa  1 

OSBOM 

a       :  a  1 

□hh :  aa 

:  aaa  aaa 

am 

aa  a  aaa  a  1 

ii  a  r  '  a  1 

a       ■  a  1 

i  -ia 

.    a:     a  : 

□nan* 

a       •  a 

t  a a  aaa 

aaa  aaa 

□EJEJDI 

□■■□I 

a  aaa  a  aaa 

a         a    .  i 

;  a a    aaa  aaa  aaa 

l  u_;_  a    i:  a      a  ;  1 

Fig.  21. 

Fig.  23  is  constructed  as  follows: 

x  Arrangement  of  warp, 


Fig.  22. 


 1 

aa  aa 

iHS>  :aa 

aaaaa" 
a  a 
aaaaa 
a  ;a 

a'""'a 
aaaaa 


ac;  aaaaa  aaaa:: 
a      a  a  ■  v  a 

aa  aaaaa  aaaaa 
a      a  a  a 


1   ■  ■ 
i  aa 
.  ■ 
:  a  a 


Fig. 


1  end  light, 

2  ends  dark, 

3  ends  in  the  repeat, 
Arrangement  of  the  filling:    I  pick  light, 

to  alternate  with    I  pick  dark, 

2  picks  in  the  repeat. 


16 


■  ■  aa    aa  ■  a  a  ' 

■  ■    :aa  ,  aa  i  aa  i 

"l  a::    :aaa  iaaa  iaaa 
-  at  •  •  a  i  .  a  i<  s 
r  aa  =  .aaa  laaa^aaa 
a      a  '  '  a  *  3 
aa  -  aaa  aaa  ^aaa 
.    a  i    a    ':•  a  ;  1 
aa    aaa  aaa:  ^aaa 
a      a    •  a  i  i 
Caa    aaa  aaa  iaaa 

a      a  :  a 
:_aa    aaa  aaa  aaa 
Li-'  <_  a      a     :a  jj 


Fig.  24. 


Fig.  24  is  constructed  as  follows : 

Arrangement  of  the  warp,  2  enc^s  light, 

2  ends  dark, 

4  ends  in  the  repeat. 
Arrangement  of  the  filling :    I  pick  light, 
to  alternate  with  I  pick  dark, 


2  picks  in  the  repeat. 

Similar  effects  upon  the  plain  weave,  as  illustrated  in  Figs.  18  to  24  inclusive,  can  also  be 
arranged  for  3  to  4,  or  more  colors  in  warp  or  filling,  or  for  both  systems  combined,  for  producing 
one  effect. 


II.  TWILLS. 


In  twill  weaves  (or  tweel  from  the  French  tuaille)  the  warp  and  filling  threads  do  not  inter- 
lace alternately  as  in  the  plain  weave,  but  only  the  third,  fourth,  fifth,  etc.,  thread  is  used. 
The  peculiarity  of  the  twill  weaves  consists  in  having  every  successive  pick  interlace  correspond- 
ingly with  its  successive  warp-thread,  thus ;  If  the  first  pick  ties  in  the  first  warp-thread,  the 
second  pick  must  interlace  in  the  second  warp-thread,  the  third  pick  must  interlace  in  the  third 
warp-thread,  etc.  Continuing  to  design  in  this  manner  until  all  the  harness  required  to  be 
used  are  taken  up  will  give  us  the  "  repeat."  This  manner  of  interlacing  warp  and  filling  will 
produce  a  distinct  pattern  upon  the  cloth,  i.  e.y  lines  running  in  a  diagonal  direction  across  it. 

Comparing  the  twill  weaves  with  the  plain  weave  in  respect  to  thickness  of  the  cloth  to  be 
produced,  will  show  that  the  twill  weaves  permit  of  the  introduction  of  more  material  into  the 
fabric,  thus  making  it  closer  in  its  structure  than  the  plain  weave.  The  reason  for  it  is  found  in 
the  fact  that  in  twill  weaves  the  warp  and  filling  interlace  only  at  intervals  of  two,  three  or  more 
threads,  thus  permitting  the  warp  and  the  filling  to  lie  closer  together. 

We  mentioned  before  that  the  twill  weaves  form  diagonal  lines  on  the  cloth.  These  lines 
can  be  arranged  to  run  from  the  left  to  the  right  or  from  the  right  towards  the  left.  It  will  be 
the  clearest  visible  to  the  eye  in  the  fabric  by  using  the  twill  in  the  weave  the  same  direction  of 
twist  the  warp-thread  has. 

Twills  commence  with  the  3-harness,  and  can  after  this  be  made  on  any  number  of  harness. 

Various  methods  are  in  practical  use  in  classifying  common  twills.  The  most  proper  course 
will  be  to  divide  the  general  system  into  two  divisions : 

A.  Uneven-sided  twills,  or  twill  weaves  in  which  more  or  less  warp-up  indications  appear  on 
the  design,  compared  with  filling-up  indications,  or  the  amount  of  indications  balance  but  the 
general  arrangement  is  different  in  one  compared  with  the  other.  For  example :  2  3  2  f  =  J,  but 
differently  arranged  for  each  side.  (For  indicating  this  division  of  twills  the  letter  u  is  used 
throughout  the  chapter.) 

B.  Even-sided  twills,  or  twill  weaves  in  which  the  amount  and  arrangement  of  warp  up  and 
filling  up  is  completely  balanced.  (For  indicating  this  division  of  twills  the  letter  e  is  used 
throughout  the  chapter.) 


55S55S  3-harness  twill. 

3iiniin  z  7/ 

■  ■■  ■  — —  a' 

■  ■  I 

Fig.  25.  WarP  for  face' 


■noMno 

i*an*nn 

1  3 

Fig.  26. 


3-harness  twill. 


2 

Filling  for  face. 


Commencing  the  designing  of  twills  on  3-harness,  we  find  one  twill  possible  to  be  made 
upon  it,  which  is  the  u  twill :  1  down  2  up  or  1  up  2  down ;  also  technically  represented  with 
warp  face  -x  filling  face  -,  and  weaves  shown  in  Fig.  25  and  Fig.  26. 


17 


Fig.  27  illustrates  the  plan  of  the  fabric  obtained  with  weave  Fig.  26. 

Fig.  28  represents  the  longitudinal  section  cut  of  fabric  shown  in  Fig.  27.  Numbers 
as  used  on  weave,  fabric  and  section  cut  are  selected  correspondingly.  A  in  section  cut  indicates 
warp-thread  No.  I  in  plan. 


Fig.  28. 


^-Harness  Twills. — Examining  four,  we  find  2  kinds  of  twills  possible  to  be  obtained :  1  down 
3  up  (u),  or  1  up  3  down  (u),  and  2  up  2  down  (e),  this  being  the  first  even-sided  twill  obtained. 


iiiniiin 
■ 

I    IBI  HI 
HIH  ■■■ 

mm  a  ■ b ■ 

HinillDM 
■  mi  ■■ 
1  ■  ■■  mam 

1  4 

Fig.  29. 
4-harness  twill. 
3 

~ —  U. 

Warp  for  face. 


nanannn* 

□■□□□mod 
■□□□■□nn 

nn*nnnMn 

1  4 
Fig.  29a. 

4-harness  twill. 
I 

—  11. 
3 

Filling  for  face. 


nnMnrjM 
□■annua 

lmnnMMnnE 

1  4 

Fig.  30. 

4-harness  twill. 
2 

Warp  and  filling  equal. 


Fig.  32. 


Fig.  31  illustrates  the  fabric  obtained  with  weave  Fig.  30. 

Fig.  32  represents  the  longitudinal  section  cut  of  fabric  shown  in  Fig.  3 


A  =  warp-thread 


No. 


5- Harness  Twills. — In  five-harness  we  find  three  different  kinds  of  twills,  as  follows : 
Warp  Face.  Filling  Face. 

I  down  4  up  («),  or  1  up  4  down  («). 

3  up  2  down  («),  "  3  down  2  UP  (*)• 

1  down  1  up,  1  down  2  up  (u),     "  1  up  I  down,  1  up  2  down  (u). 


18 


idmmmmd 

■■■□■■■■□I 

■■■■■■■■ 

BBBBi  iBBBB 

■'■■■■■:":bbb«:.j 
■  ■I  !■■■■□■■ 

1DII1IDI1IE 

1  5 


Fig.  33. 


$ -harness  twill. 
4 


B    .  BB  B  ..  BB 
BBB  BBS 

□■■■□□■■■□ 

Bll  111  1 
II       ■■!  1 

in    in  i 

iBiinniBinn 

1  5 

Fig.  35. 


5 -harness  twill. 

3 


u. 


BB    B  III 

BI  I/jII'Iu 
B    1'  ill     B.  :B 
I    81    I  11 

5inHininiin 

.  BB  H  BB  B 
BI    I    IB  B 

v_i  hi::i_;ii 

1  5 


Fig.  37. 


5 -harness  twill. 

I  2 

 u. 

I  I 


nnnninnnni 

noinnnninn 
□■□□□□■□□□ 
■□nnninnno 
snnnninnnnB 
nnninnDnia 
nniannninn 
ninnnninnn 
iinnnninnnn 


Fig.  34. 


nniinnnun 
nunnniinn 
Hinnnnnnn 
■□□□■■□nni 
nnniinnnii 
snniinnniin 
niianniinrt 
■■□nniinnn 
innnnnnni 
innniinnniB 

1  5 


5 -harness  twill. 
I 

—  u. 
4 


5-harness  twill. 
2 

—  71. 

3 


Fig.  36. 


ninnininna 
■□□■□■□nin 
nnininnini 
nininninin 

^□■□□■□■□□m 
■nnininnin 
nnininninM 
nioianinin 
unMnnininn 
1  5 


5-harness  twill. 
1  1 

 u. 

1  2 


6-Harness  Tivills. — On  six-harness  five  different  twills  are  found  : 

Filling  Face.  Warp  Face. 

1  up  5  down  («),  or  1  down  5  up  (ti). 

2  up  4  down  (u),  "  2  down  4  up  (it). 

1  up  1  down,  1  up  3  down  (z/),     "  1  down  1  up,  1  down  3  up 


□□□□□■□□□□□■ 
□□□□■□annnwa 
nncinunnninn 
□□■□nnnninnn 
□■nnnnnMnnnn 

ennnnniannnnM 
nnnninannnin 
nnnmnnnninn 
uninnnnninnn 
□■□□□□□Manna 

!■□□□□□■□□□□□ 

1  6 


Fig.  39. 


Warp  and  Filling  eqnat. 
3  up  3  down  (e). 
2  up  1  down,  1  up  2  down  [e 

(□ 


6-harness  twill. 
1 

■ — -  ?/. 


I  B  H  B  B  H  □  H 
II1DIIIBIDIH 
■■□■■■■■□■■■ 
■□■■■■■□■■■■ 
□■■■■■□■■■■■ 

11111  11111: 

■■■■□■■■■■□■ 

BBB    BBBBB  11 

■■□■■■■■□■■■ 
■□■■■■■□■■■■ 
!□■■■■■□■■■■■ 


Fig. 


6-harness  twill. 
_5 
i 


u. 


40. 


■□□□□■■□□□□■ 
□□□□■■□□□□■■ 
□□□■■□□□□■■□ 
□□■■□□□□■■□□ 
□■■□□□□■■□□□ 
■■□□□□■■□□□□ 

€■□□□□■■□□□□■ 
□□□□■■□□□□MM 

□□□MMnnnnMMn 
□□MMnnnnMMnn 
□MMnnnnMMnm 
lMMnmnMMannn 

1  6 


Fig.  41. 


6-harness  twill. 
2 

—  u. 


□MMMMQQMMMMQ 
■■■■□□■■■■□□ 
■■■□□■■■■□□M 
■■□□■■■■□□■■ 
■□□■■■■□□■■■ 
□□■■■■□□■■■■ 

<■•:  bibb:  n  :biii  : 
MMMMnnMMMMnn 
■■■□□■■■■□□■ 
iinnminnii 
■□□■■■■□□■■■ 

!□□■■■■□□■■■■ 


Fig.  42. 


6-harness  twill. 
_4 
2 


u. 


□M^nnMnMnnnM 
■□□□MnMnnnMn 
□□£»□■□□□■□■ 
□□MOM^nnMnMn 
nininnninion 
■□■□□□■□■□□□ 
ejinnnininnni 
^□□□■□■□□□■n 
b-  :■  -  ;  ;■'  :■ 
□□■□MnnnMnMn 
□MnMnnnMnMnn 
iMnMnnnMnMnnn 

1  6 


Fig.  43. 


6-harness  twill. 
1  1 


u. 


■□MMMnMOMMMQ 
□■■■□■□■■■□■ 
[□■□■■■□■□ 


■■□■□■■■□■□M 
■□■□■■■□■□■■ 
□■□■■■□■□■■■ 

6MDM  ■  unmc  ■■■  r 
□■■■□■□■■■□■ 

■■■□■□■■■□■a 
■■□■□■■■□■□■ 

■;jiuinninil 
lDMOMMMnMaMMM 

1  6 


Fig.  44. 


6-harness  twill. 

\  3 
1  1 


u. 


19 


nnSl««nnnB«B 
□nMBMnnuMBMn 
BMMMnnnHMBnn 
■■■nnnMMMnnn 

(MnnnMinnni 

mBiiinSSlBB 
lMinnniiinnn 

1  6 


Fig.  45- 


6-harness  twill. 


■DMnnwananDM 
■□□■■□■nnfian 

Hi  :BB."  IBDIJBBriB 

niBninoBBnin 
■■□■□□■■niMnn 

wnBDBBMnlooiS 

nnBMDBnnMBnii 
□■■□■nnMBLMn 


Fig.  46. 


6-harness  twill. 
2  1 


'/-Harness  Twills. — On  7-harness  eight  different  kinds  of  twills  are  found,  all  uneven-sided. 


Filling  Face. 

Warp  Face. 

I  up  6  down 

or 

1  down  6  up, 

2  up  5  down 

<< 

2  down  5  up, 

3  up  4  down 

u 

3  down  4  up, 

1  up  1  down  1  up  4  down 

a 

1  down  1  up  1  down 

4  up, 

2  up  1  down  1  up  3  down 

(( 

2  down  1  up  1  down 

3  up, 

2  up  2  down  1  up  2  down 

u 

2  down  2  up  1  down 

2  up, 

1  up  3  down  1  up  2  down 

<( 

1  down  3  up  1  down 

2  up, 

1  up  1  down  1  up  1  down  1  up  2  down 

it 

1  down  1  up  1  down 

1  up  1  down  2  up. 

Filling  for  Face. 

Warp  Face. 

□nnnnninnnnnnnt 
pnnnnannnnnnMn 
onoBMPnnnnnMDP 
nnnMnnnnnn*mn 
□□■□□nnncMnnnn 
PMnnnnnnMnnnnu 
MnnnnnnMnapann 
7nnnnanMoniannn« 
□□□□□■□□□□□□■a 
nnnnBnnnnnnBon 
□□□■□□□nnn*nnn 
□nMnonnnnMnnnn 
DMnnnnnnnnnnnn 
lannnnnnannnnnn 
1  7 

Fig.  47. 

nnnnnnannnnnna 
□nnnnBMnnnnniM 

r3nn*BnnnnnM«nn 
pcMBnannnMMnnn 
nBinnnnniBcinnn 
■■nnnnnMMnnnnn 
TMnnnnnBBannnnii 
nnnnnMMnnannMH 

□nnB*nnnnn**nn 
□□■■□nnnnannDn 
□■■□□□□□■■nnnn 
i«Mnnnnn««nnnpn 

1  7 


Fig.  49. 


■HnnnnMMinnnnM 

Dnniiinnnniiin 

■■■nnnnBMMnnnn 
7MMnnnn*«BnnnnM 
■nnnniMBnnnnwB 
nnnn*MMnnanBBM 

nntttmiiinnn 


Fig.  51. 


DBnnnnBnBnnnnn 
■□nnnMnannnnnn 
nnnnMnannnnanB 

□■□■□□□□■□■□□n 
■n*nnnn*aMnnnn 
7CMnnnnjMrMnnnn* 

nnnBaMnnnnBnan 
nnanannnnanHun 
□■□■nnnn*DMnnn 
i*n*nnnnMn>innna 

1  7 


7-harness  twill. 
1 


7-harness  twill. 

2 


7-harness  twill. 

3 


7-harness  twill, 
1  1 


1  4 


■ 


Riiias  iiiiii 
■■■■■«■■■■■  ■ 
■■■■  ■■■■■■  an 
■■■■■■■■■  ■■■ 
■■■■■■■■■■■ 
■□■■■■■■□■■■a 
iiiiii  ■■■■■ 
iiiiii  uiiim  1 
iiiiidiiiiiidi 
aaaa  aaaaaB  aa 
hi:  .iiiiii  jiii 
■■  ■■■■■■■■■■ 
■■■■■■■  ■■■■■ 

iniHHIDUIHH 

1  7 

Fig.  48. 


-  '□■■■■■Li 
■■■■■□niiiiinn 
■■■■uniiiiiLjci 

Si *OI mm 
BD1  ■■■■■  bii 

:bbbbbg;  ibbbb 
□niiiMinniini 
:iiiiim 

S 
■■■□□■■■■■□□a 
aaannaaaaannaa 
aannaaaaannaaa 
innaaaaanni 


inDaaaaanqsaaaa 

Fig,  50. 


□nimnnnaaaan 
naaaannnaaaann 
Baaannnaaaannn 
■■■□nnawiannSa 

■I        llll  11 

■□□□BBBBnnnBB* 
: :: ::  :bbbb::::  ::  :bbbb 
t:  ::  :bbbb:  :: ::  :bbbbli 
nBBBinnnBBBBnn 
BBBBnnnBBBBnnn 
BBBPnnBBBBnnnB 

II      HID  II 

HnnniiiBnnnBBB 
innnBBBBnna*M* 

1  7 


Fig.  52. 


b:  1111:  :i:iiiib:  : 
nnr  1  iin  ■ 

BBBBDlDBBBBDin 
III   I.  :b  I 

I I  ■ 

■  'in 
■  hhb 

iBDIBBBDADBBBBn 
■III   I   llll  I 
BBBBntBDBBBB;  "I  ; 

III  I  llll  I  B 
■I  IIIIII  I  II 
I    I    llll    I  III 

IdBDMBBBOBni 


7-harness  twill. 

6 


7-harness  twill. 
5 


7-harness  twill. 
4 


7-harness  twill. 
1  4 


Fig.  53. 


Fig.  54. 


20 


mpipppmpmpppm 
pmpppmpmpppmm 
■□□□■■□■□□□■■a 
pppiipidppiipm 
ppempbpppmbpbp 
piidipppiipmpp 
■■pmpppbmpmjpp 

7mpbpppmpbpppm 
pbpppmpbpppb* 
■□□□■■□■□□pup 
ppp»mphppphhpb 
□□■■□■□□□■■□■□ 
^■□■□□□■■□■nn 

impbpppmpbppp 

1  7 

Fig.  55. 


PMPBMPPMPMMBP 

■ 

PBBHPPHPBBBPPM 
■■■PPMPBBBPPBP 
■■PPBPBBBPPHPM 
■PPBPBMPPMPMM 
□□■□■■■□PBPMB 

7PMPM»MPPBnMB»P 
■PBBBPPHPMBMPP 
PBBBPPBPBBBPPB 
■■■PPBPMMPPBP 
■■□□■□■■■□PMPM 
■PPBPMMPPBPMB 

1PPHPHMBPPHP1 


7-harness  twill. 

_J  5 

2  I 


Fig.  56. 


MPPBPPMMPPMPPB 

ppbppbbppbppmb 
pbppbmpphppmbp 
■mppmppmppbbpp 
ppmephppmppb 
pmppbppmpphp 
■bppbppbbppbpp 
7bppbppbbppbppb 
ppbppbbppbppbb 
niDniincinniia 

BPPBBPPBPPBBPP 
PPBBPPBPPBMPPM 
PBBPPBPPBBPPBP 
1BBPPBPPBBPPBPP 

1  7 


7-harness  twill. 
2  1 


2  2 


Fig.  57. 


PBBPBBPPBBPBBP 
■MPMPPMPMBPP 

iniinniinMnni 

PBBPPBBPBBPPBB 
■BPPBBPBBPPBBP 

ii  :  mm  an     mm  ■ 

PPBBPBBPPBBPBB 
7PBBPBBPPBBPBBP 
■■PBBPPBBPMBPP 
1.11.    ■  B 

■■     bb  mm  mm 

MBPPBBPBHPPBlBlP 
BnPBBPBBPaBBDB 
1PPBBPBBPPBBPBB 

1  7 

Fig.  53. 


7-harness  twill. 
2  2 


PPPBPPBPPPBPPB 

ppbppbpppbppbp 
pbppbpppbppbpp 
bppbpppbppbppp 
ppbpppbppbpppb 
pbpppbppbpppbp 
bpppbppbpppbpp 
7pppbppbpppbppb 
ppbppbpppbppbp 
pbppbpppbppbpp 
bppbpppbppbppp 
ppbpppbppbppdb 

PHPPPBPPBPPPbO 
3HPPPMPPMPPPBPP 

1  7 

Fig.  59. 


7-harness  twill. 
I  I 

3  2 


■Bl  II  111  11 1 
II  El  III  II  I 
I    II    III    II  II 

II  111  II  III 
BB  III  II  BBS □ 
B    111    BB    111  I 

■II    II    111  II 

.ii.  .in  mm  : 

BB  IB  BBB  Bl  B 
I  II.  Ill  Hill 
■■■■■Hill 
■■■■■■■RSI 
■■■■■■■■■■ 
J  □  B  1 1 ....  Ill ...  1 1 
1  7 

Fig.  60. 


7-harness  twill. 

3  2 


ttMPBPPBPBPBPPH 
bpbppbpbpbppbp 
pbppbpbpbppbpb 
■ppbpbpbppbpbp 
□pbpbpbppbpbpb 
pbpbpbppbpbpbp 
bpbpbppbpbpbpp 
7pbpbppbpbpbppb 
bpbppbpbpbppbp 
pipniniPiPPMPM 

BPPBPBPBPPBPBP 
PPBPBPBPPBPBPB 

pbpbpbppbpbpbp 

1BPBPBPPBPBPBPP 

1  7 

Fig.  61. 


bpbpbbpbpbpbbp 
pbpb1pbpbpibpb 
bpbbpbpbpbbqbd 
pbbpbpbpbmpbpb 

■  1    B    ■    ■■    ■  ..I 

BPBPBPBBPBPBPB 
PlPinilPIDHPIl 

niPMipiPMPiiPi 
MPiiPipiPiinin 

□■■PBPBPBBPBPB 

BBPBPBPBBPBPBP 

I    I    I    II    I    I  1 

1PBPBPBBPBPBPBB 


7-harness  twill. 
I     1  2 
I     I  I 


Fig.  62. 


For  8 -harness,  we  find  the  following  tzvills. 


Filling  Face. 


pppppppbpppppppb 
ppppppbpppppppbp 
pppppbpppppppbpp 
ppppbpppppppbppp 
pppmpppppppipppp 
ppbpppppppbppppp 
pbpppppppbpppppp 
bpppppppbqdppppp 
8ppppppphpppppppm 
npppppiPPPPDPnin 
pppppbpppppppbpp 
pnppippppponippp 
pppipppnpppinnnp 
ppbpppppppbppppp 
pbpppppppbpppppp 

1BPPPPPPPBPPPPPPP 
1  8 


Fig.  63. 


Warp  Face. 

[□■■■■■■■niii 

■■■■■■■ 
■■■■■■■  ■■■■■■■ 

BBBBBBPBBBBBBBPB 

■ 

■BBB    lllllll  111 

■  ■■□■■■■■111  '111! 

I  lllllll  ■■■■■■ 
r.  11I1IB1  JIlllllEt 

1  8 

Fig.  64. 
7  it. 


Filling  Face. 

BPPPPPPBBPPPPPPB 

ppppppbbppppppbb 
ppppphppppppbbp 
ppppbbppppppiipp 
pppiipppnppiippp 

PPBBPPPPPPBBPPPP 
PBBPPPPPPBBPPPDD 
BBPPPPPPBBPPPPPP 

sanpppppBBnnnpnnB 
ppppppbbppppppbb 
pppppimppppppiip 
ppppbbppppppbbpp 
pppbippppppbbppp 
ppbbppppppbbpppp 
pbbppppppbbppppp 

1BBPPPPPPBBPPPPPP 

1  8 

Fig.  65. 


Warp  Face. 


PBBBBBBPPBBBBBBP 
bbbbbbppbbbbbbpp 

■  ■in;  ipbbbbbbppb 
bin  111111  ii 
in  iiiiii  in 
BBPPBBBBIBPPBBBB 

I      IIIIII  Hill 
■■■■■■  ■■■■■■ 

8  iiiiii  iiiiii: 

BBBBBBPPBIIIIBPP 
■■■■■□□■■■■■■□□I 

■  hi:.:  ibhbi  :■■ 
111 :  iiiiii  hi 

■I       IIIIII  III! 

bp.  ii_  ■  ■  ■  ■  ■ 

1PPBBBBBBPP1  ' 


Fig.  66. 

6 


21 


HannnnnBaannnnnB 
■□□□□□■■MnnnBOM 
nnnnnBaannnnnaaB 
nnnnaaannnnnaBBn 
nnnBBBgnggogggnn 
nnBaannnnnaaannn 
BBfannnnnaMaQgnn 
■BannnnnaaBunnnn 
saannnnnaaannnnna 
■□nnnaaaaSnnnggg 

□□□□□■■■□□□□□■■M 

□□nnMBBnnnonMMgg 
nnnaaannnnnaaann 
nnaaannnnnaaannn 
nMBMnnnnnMB«nnnn 
lMMMnnnnaMMwnnnnn 

1  8 

Fig.  67. 


u. 


□MnMnnnwaBDannnB 
■□■□naanaaaixiaaa 
□■□□□■□■□MnnnanB 
annnananannnanan 
DnnttMninniMniDM 
nnananannnananan 
nMOMDHnnnMnMnann 
■aanannnananannn 

■□MnonanMnBannMn 
□inDDiniDiDDnini 
annnaDanannnanan 
nnnananannnanana 
nnananannnananan 
□■ninianninininn 
TOBnBnncwnBnMnno 


Fig.  71. 


I  I 


nannannHaMnnMnaai 
annannanannannan 
□□■□oanMnnannanB 

annanannannanann 
□□■□■□□■nnBnMnnB 
nanannannanannan 
anannannanannann 
snannannanannanna 

nnannanannannanai 
nannanannannanan 
inoiniDDianininn 
nnanannannananna 
nanannannanannan 
lKBtixnannnaacncn 


Fig.  75. 


■■■■□□nMBBMMnnni 

■■□□□■■■■■□□nr" " 
■□□□■■■■■□no 
□□□■■■■■□□□i 

■■■■■■■■■■ 
niiiiinnniiiiina 
■■■■■□□□■■■■■□□a 
BBBannnaBBaannna 
BBannnaBBBannnaa 
BannnaaBBannnaBB 

1...BBBBBBBBBB 

1  8 

Fig.  68. 
5 


u. 


BnanaaanananBaan 
..bbbb.bbbbb:b 

■□■■■□■□■□■■■nin 

■■□■□■□■■■□■oini 
bb;b'.bbb.bbbb 

□■□■DIIIDIDIDIII 
□■□HMIDHnHuHIMDH 

BnaBanananBaanan 
■■■■■■■■■■ 

■■■■■■■■■■ 

■□■□■□■■■□■□■□MM 

1.  .■_ ■  ■■■ 

1  8 

Fig.  72. 

I     \  3 

 —  u. 

1     I  1 

nnaBnaananBanaan 

BB    BB.   B    ■■    ■■  ■ 

■■■■■■■■MB 
■  ■    H    ■■    B  B    B    B  B 
BB    B    BB    BB    B  BB 

■□■□■■□■MDMaMMnB 

-a:  ibi  ;bb:  :bb: : 

■Mcwinanaannnnn 
■ 

nBananaanaananBa 

■■3  ■■■■■■■ 
BBBBBBBBBB 

lnaaaanaananaanaa 


Fig.  76. 
I     2  2 
I  I 


nannnnnanannnnnn 
Bnnnnnanannnnnan 
nnnnnanannnnnana 
nnnnanannnnnanan 
nnnanannnnnanann 
nnanannnnnanannn 
nanannnnnanannnn 
anannnnnanannnnn 
snannnunanannnnna 
Bnnnnnanannnnnan 
nnnnnanannnnnana 
ppnnaaannnnaa!  mn 
nnnanannnnnanann 
nnanannnnnanannn 
nanannnnnanannnn 
lanannnnnanannnnn 

1  8 


Fig.  69. 


5 


nnannnnaanannnna 
nannnnaanannnnaa 
annnnaanannnnaan 
nnnnaanannnnaana 
nnnaanannnnaanan 
nnaanannnnaanann 
naanannnnaanannn 
aanannnnaanannnn 
sanannnnaanannnna 
nannnnaanannnnaa 
annnnaanannnnaan 
nnnnaanannnnaana 
nnnaanannnnaanan 
nnaanannnnaanann 
naanannnnaanannn 
laanannnnaanannnn 

1  8 

Fig.  73. 


nnaanaannnaanaan 
naanaannnaanaann 
aanaannnaanaannn 
anaannnaanaannna 
naannnaanaannnaa 
aannnaanaannnaan 
annnaanaannnaana 
nnnaanaannnaanaa 
snnaanaannnaanaan 
naanaannnaanaann 
aanaannnaanaannn 
anaannnaanaannna 
naannnaanaannnaa 
aannnaanaannnaan 
annnaanaannnaana 
mnnaanaannnaanaa 


Fig.  77. 


anaaaaananaaaaan 
naBBaananaaaaana 
aBBBflnanBaflaanan 
aBBflnanaaaflBnana 
aaananaaaaananaa 
aananaaaaananaaa 
ananaaaaananaaaa 
nanaaaaananaaaaa 
■■■■■■■■■■■■ 
naBBaananaaaaana 
■■■■■  n  ■■■■■■ 
BBBanflnBaaaanana 
aaananaaaaananaa 
aananaaaaananaaa 
a  ■  ■  ■■■■  ■  ■■■■ 
lnanaaaaananaaaaa 
1 

Fig.  70. 
1  5 


u. 


nanaaaannanaaaan 
anaaaannanaaaann 
UBBaannanaBaanna 
■BBBDnanaBaannan 
BBannanaaaannana 
■  a.  .  a  a  a  a  a  a 
a  ■  aaaa  a  111 
nnanaaaannanBaBB 
•s  :b::bbbb:  ::  :b:  :bbbb:  : 
anaflaannanaaaann 
naBaannanaaaanna 
aaaannanaaaannan 
aaannanaaaannana 
aa  i]  a  aaaa  11  ni  iaa 
annanaaaannanaaa 
innanaaaannanaaaa 

1  8 


Fig.  74. 


u. 


u. 


21. 


aannannaaannanna 
annannaaannannaa 
nnannaaannannaaa 
nannaaancannaaan 
annaaannannaaann 
nnaaannannaaanna 
naaannannaaannan 
aaannannaaannann 
8«annannaaannanna 
annannaaannannaa 
nnannaaannannaaa 
nannaaannannaaan 
annaaannannaaann 
nnaaannannaaanna 
naaannannaaannan 
laaannannaaannann 

1  8 

Fig.  78. 
3  1 


nnannnnannannnna 
nannnnannannnnan 
annnnannannnnann 
nnnnannannnnanna 
nnnannannnnannan 
nnannannnnannann 
nannannnnannannn 
annannnnannannnn 
snnannnnannannnna 
nannnnannannnnan 
annnnannannnnann 
nnnnannannnnanna 
nnnannannnnannan 
nnannannnnannann 
nannannnnannannn 
lannannnnannannnn 

1  8 


Fig.  79. 


u. 


aaannnnaaaannnna 
aannnnaaaannnnaa 
annnnaaaannnnaaa 
nnnnaaaannnnaaaa 
nnnaaaannnnaaaan 
c  aaaa: ::  ini  1111  :  : 
1  :Baaa:inn:  ■■■■ 
aaaannnnaaaannnn 
8aaannnnaaaannnna 
aannnnaaaannnnaa 
annnnaaaannnni 
nnnnaaaannnni 
nnnaaaannnnaaaan 
nnaaaannnnaaaann 
:  :aaaannnnaaaa'7  in 
laaaannnnaaaannnn 


Fig.  83. 


a.  1111  ii  mi  ■ 

naaaanaanaaaanaa 
aaaanaanaaaanaan 
aaanaanaaaanaana 
BanaanaaaBnaanaa 

■  ill    llll    11  III 

nflanflBBanBanflaaa 

II    llll    II  llll 

BnaflBBnaflnaflaana 

llll    llilll  II 

aaaanaanaaaanaBn 
BBanaanBaaanBana 
hi  ii  ■■  '■■ 

BnaanaaBBnaanaaa 
riimiii  11  .aaaa 

1  8 

Fig.  80. 

2  4 

■   u. 

1  1 

Banannnaaanannna 
anannnaaanannnaa 
nannnaaanannnaaa 
annnBaanannnaaBn 
nnnaaanannnaaana 
nnaaanannnaaanan 
naaanannnaaanann 
aaanannnaaanannn 
saanannnaaanannna 
anannnaaanann:  11 
nannnaaanannnaaa 
annnaaanannnaaan 
nnnaaanannnBaana 
nnBaanannnaaanan 
naaanannnaaanann 
laaanannnaaanHnnn 


Fig.  84. 


annnannaannnanna 
nnnannaannnannaa 
nnannaannnannaan 
uannaannnannaann 
annaannnannaannn 
nnaannnannaannna 
naannnannaannnan 
aannnannaannnann 
8annnannaannnanna 
nnnannaannnannaa 
nnannaannnannaan 
nannaannnannaann 
annaannnannaannn 
nnaannnannaannna 
naannnannaannnan 
laannnannaannnann 


Fig.  81. 
I 


ananannaanananna 
nanannaananannaa 
anaanaananannaan 
nannaananannaana 
annaananannaanan 
nnaaraanaHnaanana 
naananannaananan 
aananannaananann 
sb'  :anannaana^anna 
nanannaananinnaa 
anannaananannaan 
nannaananannaana 
annaananannaanan 
nnaananannaanana 
naananannaananan 
laananannaananann 

1  8 


Fig.  85. 


naaanaannaaanaan 
aaanaannaaanaann 
aanaannaaanaanna 
anaannaaanaannaa 
naannaaanaannaaa 
aannaaanaannaaan 
annaaanaannaaana 
nnaaanaannaaanaa 
snaBanaannaaanaan 
aBBnaannBaanaann 
aanaannaaanaanna 
anaannaaanaannaa 
naannaaanaannaaa 
aannaaanaannaaan 
annaaanaannaaana 
innaaanaannaaanaa 

1  8 

Fig.  82. 


naanannanaananna 
nanannanaanannan 
a'-jannanaanannana 
na: ::  :a:  11  1: 11  :a:  :aa 
annanaanannanaan 
nnanaanannanaana 
nanaanannanaanan 
anaananna:_:BBnann 
8naananna::;BBnanna 
aanannanaanannan 
anannanaanannana 
nannanaanannanaa 
annanaanannanaan 
nnanaanannanaana 
nanaanannanaanan 
lanaanannanaanann 

1  8 


-e. 


Fig  86. 
2  1 


-e. 


e. 


22 


Figs.  83  to  86  inclusive  are  the  even-sided  twills  on  8-harness. 

The  same  method  observed  in  designing  every  common  twill  possible  from  3  to  8  warp- 
threads  in  repeat,  as  shown,  is  continued  for  twills  of  any  higher  number  of  harness  repeat. 
The  more  harness  we  can  use,  the  larger  the  variety  of  twills  which  may  be  obtained. 


Combinations  of  two  or  more  Colors  for  Producing  different  Effects  upon  Fabrics 

interlaced  on  the  "  Twill' '  System. 

In  this  system  of  weaves  an  endless  variety  of  effects  are  produced  by  the  different  arrange- 
ments of  colors.  The  same  are  extensively  used  in  the  manufacture  of  ladies'  dress  goods,  fancy 
cassimeres,  fancy  worsteds  and  similar  textile  fabrics. 


Arrangement 

Weave 

of 

Warp. 

► 

r  2  d5 

Effect. 

In  Fig.  87  is  illustrated  the  3-harness  twill 
applied  to  2  ends  light 
1  end  dark 


■□■□nmnnnnnnnn 
t  bbbi  ••  3    a-  :i  3  a  i 

•  1 .  3  3  3  :i  3  n  . 

b  :■:  a  a  :>  i 

:   ■■  a  a  ^  a  if  a  it  i 

n  h1-  Ji  ibi  ;  a:  1:  a;  :  1 

a  a  a  .  a  a  .:  > 

*  a  a  a  a  i 

m  a  a  «  a  *  a  u  i 

a  a  a  -  a  a  1  i 

;  ■    a  '  a  a  a  \ 

a  a  a  ^  - 

:  a  a  .a'  a  a  i 

a  a  a  a^u 


Fig.  87. 


3  ends  in  the  repeat  for  the  color  arrangement  of 
warp  and  filling.    The  interlacing  of  the  different  color  threads 
is  arranged  so  that  each  color,  in  filling,  covers  its  own  color 
in  the  warp ;  hence  the  dark  filling  must  be  interwoven  in  the 
shed,  which  has  all  the  dark  warp-threads  in  the  lower  part,  and  all  the  light  warp-threads  raised. 
The  effect  represents  what  is  technically  known  as  "  hair  line." 

Weave  Fig.  88,  illustrating  the  4-leaf  twill  — 


■■■□□□□□□□□□□□□□ 

■■  aa 

■  i  :  o  f.  n  ia<  i  - 1 
.□■■■□□□□□□□□□□□□. 

L"        a  :i  '■■  a  r  !  'U-  :  v  -1 

i  ■  a  :  ;  :a  1.  s  c  i-  m 
:  a  ,a-  p  p  sa<  i  -m 
:  aa  a  i- i*  o  a 

r  i  v  ;  a  P  :  i3'  :  ■  a 

a      a  a 

n  -i  a: ;  -  a  i  a  i 

l  aa  a1 :'   ;a-     a  ■;  : 

a      a-  i  ;  ib.  <:  ■  i 

:   i   !  :  ..3:  ■   I  '3'  -  I  O  « -  j 

a      3  a 

_aa .  a;  i;  i;  a  m  :a-  ■  .  i 


Fig.  88. 


r,  can 

also  be  used  for  producing  a  "  hair-line  "  effect  by  using  for 
the  color  arrangement  of  the  warp  and  filling 

3  ends  light, 
I  end  dark, 

4  ends  in  the  repeat. 

The  dark  filling  has  again  to  cover  its  own  color  in  the 


■■□□nnnnnnnnnnnn 
■    bbb    aa    aa  □ 

I     BB33  ii  BS-'  :  ;33:  ■ 

□■■□nnnnnnnnnnnn 

aa  :  aa  :>  aa*  ■ 

•  ■      a     .a    ■  .a.  a  ■ 

!~BB  "33>  '  aa  •  .33'  i  i 
□33.  -.BSt  ^BBBMBBB^B 
rt-4!  B3;  "  ^33-  v  33  ;  1 
3  i  :  3  =  3  -  •  1 
f  33  33'  31  BB-  Ii  IBB!  H.  j 
!  33  BBf  -333  333  3 
;  '  33  !33:  i:  33  I 
t  '  ■  3  3  3.  ^  I 
[  33   33:  :   33'     33^  !  t 


Fig.  89. 


■■'  ' 

■■  3  3  a  a  3  3  ' 

l  a  3  a  a  a 

B  b 

:  33   3   333   333  33 
3        3         3  , 
33    333   333  333 

3  3  ■  3  .  i 
33   3   333   333  33 

33   333   333  333 
3        3  3 

33   3   333   333  33 
3        3        3  I 

33   333    333  333 
3        3         3.  I,  i  » 


■■□□■aas 
■□□■■□ai 


innnnnnnapnnnD 
— i^aawBBH 
ii  laaaBBia 

BBB33  ::  '■  33  .  3 
:  BBB  n_ 

333   33  3333  333 

33  33  3 

L  f=HH:  31  l  ii  II  IB!  I-  :■  ;B 

* 

333    33  333  33 

333   33  3333  333 

(  il.il  !:  :   33  33  3 

!  m  »4f.  3  ft  -i  |B  It  !  .3 

■  i  li-ifl  •     '  .:  :  :!'  •  :  n  1 

333   33  333  33 

caaanaai  aaaaayBBa 


warp  to  produce  the  required  effect.    This  weave,  (-  -),  can  also  be  used  in  an  arrangement  ot 

2  ends  light,  2  ends  dark,  in  the  warp  and  filling,  for  producing  a  "  line  "  equally  as  heavy  as  the 
ground  in  the  direction  of  the  warp  for  effect. 

Fig.  89  illustrates  the  effect  of 
2  ends  dark, 
2  ends  light, 

4  ends  in  repeat  of  color  arrangement 
for  warp  and  filling,  upon  a  fabric  having  the  4-harness 
even-sided  twill  for  weave.  The  placing  of  the  colors  as 
represented  in  the  latter  effect,  will  prevent  the  filling  from 
showing  more  prominently,  than  the  warp.  The  principle  observed  is,  to  place  one  of  the  light 
picks  in  the  shed  formed  by  light  color  down  dark  color  up ;  the  other  light  pick  is  to  be  inter- 
woven when  half  of  the  light  and  half  of  the  dark  warp-threads  are  up,  and  the  remaining  one- 
half  of  each  are  down. 

Fig.  90  illustrates  a  "  zig  zag  "  arrangement  for  effect,  as  produced  upon  a  fabric  interwoven 
upon  the  4-harness  even-sided  twill  with  a  color  arrangement  of 

1  end  light, 

1  end  dark, 

2  ends  in  repeat  for  the  warp  and  filling. 


Fig.  90. 


Fig.  91. 


23 


Fig.  91  represents  a  "  spot  effect"  obtained  upon  a  fabric  interlacing  with  the  5 -harness 
twill.    Color  arrangement  for  warp  and  filling  to  be  2  ends  dark,  3  ends  light. 
SS",7  B  Fig;.  92  illustrates  a  "  zig  zag  "  arrangement  for    S"bV:  a  c 

i  rr     n     n  a     a  °     ^  .7  .  i  ■  BBB  a  I- 

effect,  as  produced  upon  a  fabric  interwoven  with  the  ::  : 

pRRp    6-harness  3         even-sided  twill  and  a  color  arrange-      F-F  KanB[: 

^   F    ment  of  2  ends  light, 
■:rHp  I  end  dark, 

3  ends  in  repeat  for  the  warp  and  filling. 
ii  f:  Figs.  93,  94  and  95  illustrate  similar  effects  pro 

Emmm    duced  on  a  warp  and  filling  arrangement  of 

I  end  light, 
I  end  dark. 


1  :  aa 
1  mmm 
l  ■■■ 

a  a 

L  -  ■ 
II 

I 

1  . 

a  a 

1 

a  a 

1 


□1  a  a  e 

! 

□LJUUuS 


Fig.  92. 


aaa  a  | 
aaa  a  a 

aaa  g  a: 

,    ..  ai 

Fig. 


a  1  a  a 
a  'a  .a 
a  a  a 

1 

a  a  a 

a  a:  a 
a  a  1 
a  aaa 

a;  it  '1  11 1 
aaaaa 

jl  !!  iB 


93- 


SB    •  ■ 


inn 
inn 
21  ia 
:ua 
:!  ia 


a  a  a  a 
aaa    a  a  a  a  aaa: 
a  a  a  a 
i    aaa    a  a  a  aaaaa; 

a  a  a 
:    aaa    a  a  aaaaaaa 
a  a  a 
aaa    a  aaaaaaa  a 
a  a  a 

:    aaa    aaaaaaa  a  a 
a  a  a 


a  aaa 
aaaaa 


IB'  a;  a 

a  a  a 

a  a  a 

a  a  a 

a  a:  a 


ends  in  the  repeat. 


Fig.  93  illustrates  the  fabric  produced  with 
the  5 -harness  -  1  1  1  twill. 

Fig.  94  calls  for  the  7-harness 
twill,  and  Fig.  95  for  the  9-harness 
twill. 


■  ■  ■  ■■ 

■  ■  ■  ■■ 

■  ■  ■■  1 

■  ■  urn  m 


:  aaa 

2  •  lJ 


■ 

■ 

C  ! 

m 
[  : 
□c 
r.;: 
i 


aaa      a  a aaa 
a 

aaa  aaaaaa 
■  '    aaa  aaaaaa 

aaa  _  i.  aaaaa 


] 

aaaaa 

i 

2BBBBB 

1:  ,i  1 
2BBBBB 

a 

3BBB1  iB 

-  a  a 

:a  a  a 

a  a  a 

a  .a:  ia 

at  a  ia 

a  a  a 

a  a  a 

a  a  a 


Fig.  94. 

In  diagrams  Figs.  96,  97, 
warp  and  filling  are  given.    Such  combinations  find  extensive  use  in  the  manufacture  of  fancy 
cassimeres  and  fancy  worsted  suitings. 


Fig.  95. 

and  99,  four  specimen  effects  of  three-color  arrangements  in 


■□□■□□nnnncx 


■nni 

□□■■□r  • 1 
r ■■  ■■  aaa 
■■  ■■  aaa 
■    ■■    ■  <  aaa 

■■      ■■  vvl 
IBB  ■■ 
■■  ■■ 

1  -  aa 

{  ■  "1  ;  ,EBi  :  ; 

aaaa      B   12  5- S 

.  ****  ■ aaa 
r   ■■■■  aaaaa 

■  ■  a  a 

!     i     i  •  .i'"r-flpfflii'fl 

i  '  aaaa.""i  1  :aa» 
[  Laaaa 

■■■■  aaaaaa 

I  i  i  ;  ;  ii  B:  ;  i 
[.■■■<■*■■?■:,  :  B  . 

~aaaa  aaaaa 
a  v 

■■■■     ■  aaa  : 

■  *■  i  ■  ! 

■  • 

[    aaaa  aaaaaa 


innnnconn 
1 

a an  aaa 
aaa  aaa 
aaa  aaa 

aaa  -  aaa 

nni  r;nnnn 


aaaaaaaaa 


;i  ■      a  a  ■■  aa;  1 
:<aaaaaaaaa  aaa 
aaa  aaa 


b  .  ;  aa 

vB 

:<aaaa  aaa 
aaa  aaa 
bbb  aaaa 
a  a    a  a 


aaa? 
*•  ***  ■;•  aaa: 
□i  aaaa.     ;  bbb  ma:  mi 

Fig.  96. 


a;  :  I 

*  a 
aaa  ■ 

bbbbbbbb 
■>mb  >:no 


Fig.   96  illustrates  the  effect  derived  from  the  even-sided 
4-harness  twill,  by  the  following  arrangement  of  warp  and  filling : 
2  ends  light,        ^        color  No.  I. 
2  ends  medium,    V  or,      "    No.  2. 
1  end  dark,  J  "    No.  3. 

5  ends  repeat  in  color  arrangement;  thus,  5  X  4  =20 
threads,  repeat  of  effect. 


Fig.  97  illustrates  the  effect  derived  from  the  same 
weave  as  used  in  the  foregoing  example,  with  the  follow- 
ing arrangement  for  warp  and  filling  : 


4  ends  light, 
4  ends  medium, 
4  ends  dark, 


color  No.  1. 
"     No.  2. 


'  BB 

aa 


aaaa 
aa-:a 
aaaa 
aaaa 


i^rnnnnnnnnnn 
1 

aaaaaaaaa 


aBBBBBBBBBBE 


or, 


No. 
No. 


4  ends  medium,  J 

16  ends  repeat  in  color  arrangement,  and  as  16 
is  a  multiple  of  4  (repeat  of  weave),  16  threads  are  also 
the  repeat  of  the  effect  in  addition  to  color  arrangement. 


3BBBBBBBBBI 

JBBBBBBBBBB 

•  ■  m  •:•  •:<  •:■  a  •:•  a  —  a  •:•  •:• 
1  aaaaa  a  a  /:<a>' 
laaaaaa  w  aBBBBBBBBB 

aa  -a  •:•  aa  »•:•  .  a 
aa-    a  a  aa  '  ■■  aa 

ib  aa  •  ■  ■  v  r-  iaa  -  aa  aa;- , 
1    a  a         :  aa    aa    aa;  -i  i 

JBBBBBE  "~ 

aaaaaaaaa 

aaa 


L,:_;BffiBB ...  j  ;  .aaaaaaaaaaaaaa  bbbbbbbbbbsbbes 


Fig.  97. 


24 


■■□□□I 

■in  a  a  a  a  aa  ©r 
■■■  a  a  a  a  ai 

■■■  □□□ltji'- 

■bb  ■;]□□□□□□□□□□□□: 
a      ■  *  ■ 

.    II      ■■■    villi  ©I 

□  JE-Ii  !         I   '■    Q  ■  © 

(   is©  ssi 

.     IB  .  >  Sllll  SHII 

.    ism:  j-  mm  .  i 


the 


6-harness 


;  as  .  ■ 
]□■■□□■©■■■■ 


Fig.  98 


Diagram  Fig.  98  illustrates  the  effect  derived  from 
even-sided  twill,  by  the  following  color  arrangement : 
I  end  light,      ^        color  No.  1. 
I  end  medium,  >  or,     "     No.  2. 
I  end  dark,      j  "     No.  3. 

3  ends  repeat  in  color  arrangement,  the  same  repeating 
twice  in  one  repeat  of  the  weave,  also,  one  repeat  of  effect  in  fabric. 


[.-':■! 
■■I 

.  BBB 
■  ■■ 

!  - 

[-/M-r:: 

!  > 
□fflHDC 

z©a_ 


:  ■■©  ■    .  R 
SSSI      ES***Q  a 

^'/•'•m  aaa aan a  a 
:<  ©  a  a  a  a  a  a  a  a  *  *  -  a  a 

■■SSSBBB^fflSBBD!T- 


B 


►VPBS 

"  m- 

•B 


1  BB  :  BOB'I'S  B 

r  ►>;•«  ih; 

HS-i  © 
a©         *      ****  SSSI'--:^ 

:  a  a  aaaa    a  a  aaB  ©►; 

a  a  aaa via  >>>'»>m>»» 

1  bb  aii'»siiiiv>:<>>Dis 

■  ■  aaa        aa  : 
as  © 

a  b  an 

a©  ©aaa    »x-«a  sssssass 

a  a  a  a  a  o  a  a  a  a  a  b  a  a  a  a  a  a  a  a  a 

aa  s>:<sssi>:-ssss>:->:»:'S  aaaaa 
L        "  .■■■aaaoBB  aacsa 

a  a  a 

a  m 

1  B        !:  I?1EB  IM 

a  a  >:>sC'Oi  sssssiss' 

l aa_  r  aaaaaBaaaaaaaaa 

a  a      sss>:<sss^s  >!<<>:• -z-^< 
.  bb      an  a '"-bbb  sin 
a  n 

M    B  'SB 

i  SB  I:    :  aaB 
a  a        a  a  a  a  a  is  a  a  a  a  a  a  a  a  a 
a  a      >:-sv>:'vvOvv  aaaaa 
■  a a      a a  aaaaa  •  aaaa 
1  11    .  a  r  aBBB  i!  -  bbbb  i  - 

k  aa 
i  ;     .  aaB 
□sbcozmphnbsb'  !■ :  aaa  ■  ■ 
1  a a      aaa aaa aaa  aaaaa 

a  a  *©  aaaa 

(  aa  '    a  ■  :  'ae©  ■  aaa 

1  .BB  ,_j-.JJ:  BBBB?::  1QBB 


a 

a  ra 

a  a 

aaaa"' 
■ 

'  aa 


<*aSSa 

©aaa 


■  BHB 

aaa 


'  ':  -  ••-  n 
,  ©an 
•aaaaa 

<  aaaa 
^aaa 

aa 
■  -'-aB 

iuaaa^ 
j  aaaa 
'  aaaa 
;  aaaa 

BBBvl 

:  aaa 

<  -aaa  i 
■  aa":  i 


aaaan  BBB 


aaaa 

aaaa 
"aaa 

aaa 

a  a  :  i 
a 


BBBvO  BBB-: 


.<n  a  a  aaa  b 


aai 


aaa 
;  ;aa 
;  :aaaa 
aaaa--^  aaaa 
a aaB  aaaaa 


if  iz  :  ai 


as  i  aa 

isa  :  a  a 
aa  -  a  a 

:aa  :  si 
aa  i  aa 

'aa  i  a  a 

jsa_usn 


BjaaBaaDBsaaaaBBo : 

Fig.  99. 


iHBB  >j  ©BBB 


Fig.  99  illustrates  the  same  weave  as  used  in 
Fig.  98,  arranged  for 

3  ends  light,  ~j  color  No.  1. 
3  ends  medium,  >  or,  "  No.  2. 
1  end  dark.        )  "     No.  3. 

7  ends  repeat  in  color  arrangement,  and  as 
this  7  is  no  multiple  of  the  6  (repeat  of  weave)  or 
vice  versa,  7X6=42  threads  in  warp  and  filling 
are  required  for  one  repeat  of  the  effect. 

In  diagram  Fig.  100,  a  specimen  example  is 
given  of  3  colors  arranged  in  warp  and  filling  upon 

the   4-harness  twill  for  producing  a  hair-line 

-effect,  as  used  in  the  manufacture  of  woolen  and 
worsted  trouserings,  etc. 
aS"a  aa   aa  i  *a  i  aa         Arrangement  of  warp  and  filling: 

a  bb  •  aa    aa    aa    aa  °  1  „  ■ 

iSaSBBfflSaBsBa'IsB  2  ends  light,      |         color  No.  I. 

I  end  medium,  V  or,  "  No.  2. 
I  end  dark,      J  "     No.  3. 

4  ends  in  repeat. 

In  placing  the  filling  in  this  present  sample  as  well  as  similar  effects,  each  individual  color 
in  filling  must  cover  the  same  color  in  the  warp,  according  to  rules  given  for  producing  effects  with 
two  colors. 

It  will  be  seen  by  the  student  that  these  effects,  until  now  produced  with  two  or  three 
colors  in  each  example,  can  readily  be  extended  to  effects  with  four  or  more  colors  in  warp,  or  in 
filling,  or  in  both  systems  combined  at  the  same  time. 

The  effects  shown  in  Figs.  90,  92,  93,  94,  95,  96,97,  98  and  99  are  designed  on  the  basis 
of  equality  of  texture  in  warp  and  filling,  as  also  of  similar  thickness  of  thread  for  both  systems ; 
therefore,  any  changes  in  one  or  the  other  will  have  a  corresponding  influence  on  the  effect. 


Fig.  100. 


Satin  Weaves, 


Satin  weaves,  also  technically  called  satins,  are  without  the  prominent  lines  which  a/e 
identical  with  the  regular  twills ;  consequently  satins  are  characterized  by  a  smooth  face.  In  twill 
weaves  the  points  of  intersection  follow  consecutively,  but  in  satin  weaves  this  is  not  the  case  ;  they 
being  arranged  to  interlace  at  intervals  of  one,  two,  three,  four  or  more  threads.  The  principles 
for  the  construction  of  satins  are  to  arrange  as  much  as  possible  distributed  stitching,  and  to  have 
it  done  at  the  same  time,  as  regular  as  possible.  The  more  scattered  we  can  arrange  the  inter- 
lacing of  the  warp  and  filling  the  less  these  points  of  intersection  will  be  visible  in  the  fabric. 
The  lowest  satin  that  can  be  produced  is  found  in  the  five-harness  satin ;  after  this  the  same  can  be 
made  "  regular  "  on  any  number  of  harness,  with  the  exception  of  six.    The  four-leaf  broken- 

nnimnMn  twill  is  also  sometimes  classified  as  a  "  satin,"  but  against  the  rules  of  construction 

S  jBhSeo  f°r  these  weaves,  as  on  two  successive  picks  the  interwoven  threads  are  next  to  each 
^"■□□□m  other  (see  Fig.  101).    The  points  of  intersection  of  the  numerous  satins  are  found  bv 

iiijnnMiinn  the  following  rule  : — 

Fig.  1 01  Divide  the   number   of  harness  for   the   satin  into  two  parts,  which  must 

neither  be  equal  nor  the  one  a  multiple  of  the  other;  again  it  must  not  be  possible  to  divide 
both  parts  by  a  third  number.  After  finding  this  number  (which  is  technically  known  as 
At  counter "),  add  it,  commencing  to  count  from  one  until  all  threads  or  harness  are  taken  up. 
For  example  :  Find  satin  weave  for  five-harness  (5  equals  2  plus  3) ;  commencing  to  count  with 
one  and  adding'always  two  points  we  find: 

1  +  2  =  3  +  2=  5  +  2  =  7  or  2  +  2  =  4  -f  2  =  6  or  1  giving  the  points  for  intersection 
in  the  weave  as  1,  3,  5,  2,  4,  which  means : 

The  first   pick  intersects  with  the  1st  warp-thread  (1st  harness  up). 


second 
third 
fourth 
fifth 


3d 
5th 

2d 
4th 


(3d 
(5th 

(2d 

(4th 


This  construction  is  illustrated  by 

Fig.  102,  in  its  principle  (arrow  S  indicating  the  rotation  of  picks,  arrow  O  indicating 
counting  off  of  warp-threads  for  each  successive  pick). 


the 


Fig.  103  illustrates  the  same,  applied  to  the  regular  designing-paper,  being  filling  up  or 


5th  pick. 

I 

2 

4 

4th  " 

2 

2 

1 

3d  " 

I 

2 

5 

2  I  " 

_ 

3 

m  " 

I 

1 

2 

c 

Warp- 
thread. 

in 
H 

cs 

^* 

to 

filling  for  face. 


□■□□□□■nnn 

snncMnnnDMn 
□□□□■annnM 

1  5 
Fig.  103. 


Fig.  104  illustrates  the  same  changed  to  warp 
up  or  warp  face,  by  simply  exchanging  "sinkers" 
(down)  to  " raisers"  (up). 


IjIIIIOIII 

■mniiiin 
ibii  ma 


■■■■■■■■ 

III!  III! 
■■    llll  II 

1  ■■■■  ■mm 


O 

Fig.  102. 


Fig.  104, 


(25) 


26 


I'1!  11 11  


Fig.  105  illustrates  (enlarged)  a  fabric  interlaced 
in  the  5 -harness  satin,  constructed  as  explained 
before. 

The  5 -harness  satin,  as  well  as  other  satins 
produced  with  any  number  of  harness,  can  also 
be  obtained  by  constructing  the  design  lengthwise ; 
in  this  case  (taking  the  5 -harness  for  example)  we 
find 

The  first  warp-thread  must  stitch  in  the  ist  filling, 

"    second    "  "       "       "      3d     "  < 

u    third       «  u        u        u      5th  u 

"    fourth     "  "       "  '     "  2d 

"    fifth        "  "       "       "      4th  " 

This  construction  of  the  5-harness  satin  is  illus- 
trated by 

Fig.  106,  in  its  principle  (arrow  S  indicating 
the  rotation  of  warp-threads,  arrow  O  indicating  the  counting  off  of  warp-threads  for  each 
successive  pick). 

Fig.  107,  the  same,  applied  to  the  regular  designing  paper. 

Fig.  108  is  the  same  satin  warp  up  or  warp  for  face. 


Z  3 .  H.  5  &  7. 
Fig.  105. 


5th  pick. 

2 

5 

I 

4th  " 

I 

2 

4 

3d  " 

3 

I 

2 

2d  " 

2 

2 

1 

ISt  " 

I 

1 

2 

c 

ist  Warp- 
tbread. 

to 

Filling  for  face. 

□□MnnnciMon 
nnncwnnnnin 
nMnnnnannn 
nnnMnnnnaQ 
■□nnnBnonn 

□■□□□DMnnn 

i*nnnnMnnnn 

1  5 


Fig.  106. 


Fig.  107. 


■■■■■■■■ 
■■■■■■■■ 

:■■ 
 1 

iiiDimni 

lniMBHDMIHa 

1  5 

Fig.  108. 


A  careful  examination  of  Figs.  103  and  107  will  show,  as  the  only  difference,  the  "  satin 
twill"  (which  later  on  will  be  more  particularly  described), but  taken  in  a  general  technical  point  of 
view,  for  constructing  weaves  both  are  identical.  The  first-mentioned  rule,  counting  off  the  picks 
in  rotation  and  the  harness  (or  warp-threads),  according  to  the  "counter"  obtained,  is  in  general 
use. 

Design  shown  in  Fig.  107  would  also  have  been  obtained  by  the  first  rule  in  using  the  other 
part  the  5  is  composed  of,  namely,  the  3  for  counting  off,  thus 

1+3  =  4  +  3  =  7  =  2  +3  =  5+  3  =  8  =  8+  3  =  6=  1. 
or  the  stitch  as  I,  4,  2,  5,  3. 


27 


For  6-liarncss  (6  warp-threads  for  repeat),  as  already  mentioned,  no  regular  satin  is 
found,  as  6  can  only  be  divided  in  2  plus  4  or  3  plus  3,      pnaMUUUunB  in-miinii 


which  numbers  are  against  the  rules  for  constructing  satin 
weaves.  Being  sometimes  compelled  to  use  a  satin  on  6- 
harness  we  must  use  the  next  best  to  a  perfect  satin  as 
found  in  1 — 3 — 5 — 2 — 6 — 4,  illustrated  in  Fig.  109, 
filling  for  face;  Fig.  no,  warp  for  face. 


□□□□□■□Li  I 
□■□□□□□■□□□□ 
□□□□■□□□□□■□ 
□□■□□□□□■□□□ 
■□□□□□■□□□□□ 

•>  ■  ■ 

□□□□□■□□□□□■ 
□■□□□□□■□□□□ 
□□□□■□□□:t  :■:  1 
□□■□□□□□■□□□ 

!■□□□□□■□□□□□ 
1  6 


□■■■■■□ 
■□■■■■■□■■■■ 
■BBB    BBBBB  B 

■■□■■■■■□■■■ 

□■■■■■□■■■■a 
"■■■□■■■■■□■a 
■■■■■□■■■■■□ 
■□■■■■■□■■■■ 
■■■■::■■■■■□■ 
■■□■■■■■□■■■ 

BBBBB  BBBBB 


For  ^-harness  two  regular  (perfect)  satins  are  found 
by  dividing  7  into  2  plus  5  and  3  plus  4. 


Fig.  109. 


Fig. 


□□□□□■□□□□□□■□ 
□□□■□□□□□□■□□a 
□■□□□□□□■□□□□□ 

Counting  off  for  the  first  kind  we  get  by  using  the  2  □□□□■□□□□□□■□□ 
Z  rt  -  a  ~  □□■□□□□□□■□□□□ 

for  counter  :l+2=3+2=5+2=7+2=9=2+  ,gBBBB2B5BBBBSB 
2  =  4  +  2  =  6  +  2  =  8  =1,  or  I,  3,  5,  7,  2,  4,  6,  and  illus-  BSBKaBBBBBSBBB 

1     •        ■¥-»  •  .     rAf  r       r  -r--  r        r  □□□□□□■□□□□□□■ 

trated  in  r  lg.  1 1 1 ,  nlling  tor  lace  ;  rig.  112,  warp  for  face.  □□□□■□□□□□□■□□  ■■■■:.■■■■■■::■■ 
&         9        &  .'      t>         >       r  □□■□□□□□□■□□□□  ■■□■■■■■■□■■■■ 

lwnnnnnnMnnnnna 
1  7 


■■■■■■  a 

■■■□■■■■■■□■■I 
bbbbbbbbbbbb 

■■■■■■  ■■■■MB 

■  ■■■  ;■■■■■■□■■ 
■■□■■■■■■□■■■■ 

■■■■■■■■■■■a 
■■■■■□■■■■■■□■ 
■■■□■■■■■■□■■■ 

■  ■■■■■■  ■■■■■ 

■  mil  mini 


IQI 
1 


Fig  hi. 

□□□□■□□□□□□■□□ 
□■□□□□□□■□□□□a 

T  -    ,  ,  ..        r.  ,  □□□□□■□□□□□□■□ 

In  the  construction  of  the  other  satin  for  7-harness  and  ggggggggBnBBBS 
using  the  3  for  counting  off  we  get  1  +  3  =  4  -4-  3  =  7  +  ■□□□□□□■□□□□□§ 

o  n  ft  cio  ?□□□□■□□□□□□■□□ 

3  =  10  =  3  +  3  =  6-J-3=Q=2+3  =  5  +  s  =  8  =  i,  □■□□□□□□■□□□□□ 

°„  '  □□□□□■□□□□□□■□ 

1   filling  uo-  □□■□□□□□□■□□□□ 

J»  lUA*"S   UP>  □□□□□□■□□□□□□■ 

TT,Vr     IT  A     ,vnm   „n  □□□■□□□□□□■□□□ 

rig.  114,  warp  up.  !■□□□□□□■□□□□□□ 

1  7 


Fig.  112. 


or   1,  4,  7,  3, 


6.  2. 


5,  illustrated  in  Fig. 


Fig.  113. 


For  8-harness  we  find  only  one  perfect  satin 
as  the  8  can  only  be  divided  into  3  plus  5.  The  count- 
ing off  for  the  design,  always  adding  3,  will  be  as 
follows  : 

1+  3=4+  3=  7+3=io=2+3=5+3=84-3=" 
=3+3=6+3=9=!'  or  x»  4>  7>  2,  5,  8,  3,  6,  illustrated 
in  Fig.  115,  filling  for  face;  Fig.  116,  warp  for  face. 


□□□□□■□□□□□□□■□□ 
□□■□□□□□□□■□□□□□ 
□□□□□□□■□□□□□□□a 
□□□□■□□□□□□□■□□□ 
□■□□□□□□□■□□□□□a 
□□□□□□■□□□□□□□■a 
□□□■□□□□□□□■□□□□ 
■□□□□□□□■□□□□□□□ 
«□□□□□■□□□□□□□■□□ 
□□■□□□□□□□■□□□□a 
□□□□□□□■□□□□□□□■ 
^□□□■□□□□□□□■□□a 
;!■□□□□□□□■□□□□□□ 
^□□□□□■□□□□□□□■9 
::□□■□□□□□□□■□□□□ 

!■□□□□□□□■□□□□□□□ 
1  8 


Fig.  115. 


SAAB    BBBBBB  Bfl 

■□■*■■■■□■■■■■ 
■■■■■□■■■■■■□■ 
■B  BBBBBB  BBBB 
BBBBBBBBBBBB 
BBB  BBBBBB  III 
'  BBBBBB  BBBBBB 
7M BBB  BBBBBB  II 
■□■■■■■■□■■■■■ 
■■■■■  BBBBBB  B 
■■□■■■■■■□■■■■ 
■■■■■■□■■■■■■□ 
BBB  BBBBBB  BBB 
'BBBBBBBBBBBB 
1  7 

Fig.  114. 
■■■■■■■■■■■■■■ 

■B  BBBBBBB  BBBBB 
■  ■■■BBB.  BBBBBBB  I 
■BBB  BBBBBBB  BBB 
■□■■■■■■■□■■■■■■ 
BBBBBB  BBBBBIB  fl 
BBB  BBBBBBB  BBBB 
I -BBBBBBB'  BBBBBBB 
BBBBB  BBBBBBB  Bfl 
BB  BBBBBBB  BBBBB 
BBBBBBB  BBBBBBB 
■BBB  BBBBBBB  BBB 
fl  BBBBBBB  BBBBBB 
■■■■■■  flflflflflflB  B 
■flfl  BBBBBBB  BBBB 
BBBBBBB  BBBBBBB 
1  8 

Fig.  116. 


Upon  g-harness,  we  can  design  two  different  satin  weaves,  for  the  number  9, 
in  accordance  with  the  rules,  can  be  divided  into  2  plus  7  and  4  plus  5. 

Commencing  to  count  off  with  2  for  producing  the  first  kind  of  satin  we 
get:  1,  3,  5,  7,  9,  2,  4,  6,  8,  which  is  illustrated  in  filling  for  face  in  Fig.  117.  If 
requiring  warp  for  face  read  this  as  well  as  any  of  the  following  designs,  illustrated 
in  succession  up  to  16-harness,  □  for  raisers  (up),  *  for  sinkers  (down). 

Commencing  to  count  off  for  the  second  kind  of  satin  weaves  on  9-harness, 
using  the  4  for  counter,  we  get:  1,  5,  9,  4,  8,  3,  7,  2,  6,  which  is  illustrated  in 
Fig.  118. 


»□□□□□□□■□ 
□□□□□■□□□ 

□□□■□□□□a 
□■□□□□□□□ 
□□□□□□□□■ 
□□□□□□■□□ 
□□□□■□□□□ 
,□□■□□□□□□ 
iflpntannon 

Fig.  117. 

9U'JuuuMnnn 
□■□□□□□□□ 
□□□□□□■□□ 
□□■□□□□□□ 
□□□□□□□■□ 
□□□■□□□□□ 
□□□□□□□□■ 
□□□□■□□□a 

!■□□□□□□□□ 

1  9 

Fig.  118. 


For  10-harness  one  regular  satin  is  derived  by  dividing  10  into  3  plus  7. 
Counting  off  with  3  gives  1,4,  7,  10,  3,  6,  9,  2,  5,  8,  as  points  for  intersecting. 
The  design  for  it  is  illustrated  in  Fig.  1 19. 


^□□□□□□□i 
□□□□■□□□□t 
□■□□□□nrtnc 
□□□□□□□□■□ 
□□□□□■□□□□ 
□□■□□□□□□□ 
□□□□□□□□□■ 
□□□□□□■□□□ 
□□□■□□□□□□ 

!■□□□□□□□□□ 
1  10 

Fig.  119. 


28 


unnnnnnnannn 
nnnannnnnnn 
nnnnnnnnnn* 
nnnnnnan-nn 
nnwnnnncnnn 
nnnnnnn=c»n 
nnnncwmnnn 
□■□^□□□□nnn 

nnnnwnnnonn 
lMnnnnnnnnnn 
i  n 

Fig.  120. 


For  n-harness  four  different  perfect  satins  can  be  designed,  by  dividin; 
1 1  in  2  plus  9,  3  plus  8,  4  plus  7,  5  plus  6. 

The  "  counter "  most  frequently  used  for  the  1 1  harness  is  4,  giving 
points  for  intersecting  as  follows  :  1,  5,  9,  2,  6,  10,  3,  7,  1 1,  4,  8. 


The  design  for  it  is  illustrated  in  Fig.  120, 


the 


the 


lannnnnHnntnnn 
□□□□□□□□□nan 
nnsannrnmnnn 

nannnnnnnnzn 
nnnnnnainnnnn 
□□□□□□nninno 
□□□□■nnnnnnn 
cnnnnnnnnHnn 
nnamnnnnnnn 
nnnnnnnannnn 
mnnnnnnnnnnn 
1  12 
Fig.  121. 


i3nnnannn::Mnnnn 
nnnwnGnnnnrr  n 
nnnnnnnnnnnag 
nnnn::n«_nnn-m 
□■nnnEnnnnnnn 
noonnnnnL.*nnn 
nnniMnnnnnnnj 
nnrnmnnnnnunizn 
nnonnnninnnnj 
nnazmnuunnnm 
nnnnnannmn*nn 
ucnanBnnnnnnn 

mnnnnnnnnnnnn 

1  13 

Fig.  122. 


For  i2-har?iess  only  one  perfect  satin  is  found  by  dividing  the  12  into 
5  plus  7.  Counting  off  with  7  gives  the  points  for  intersecting  as  follows: 
1,  8,  3,  10,  5,  12,  7,  2,  9,  4,  11,  6. 


The  design  for  it  is  illustrated  in  Fig.  121, 


For  ij-harness  we  find  five  different  perfect  satins  by  dividing  the  1 3  into 
2  plus  1 1,  3  plus  10,  4  plus  9,  8  plus  5,  6  plus  7. 

Counting  off  with  (the  number  most  frequently  used)  5,  we  find  the  in- 
tersecting points  to  be  1,  6,  11,  3,  8,  13,  5,  10,  2,  7,  12,  4,  9. 

The  design  for  it  is  shown  in  Fig.  122. 


lcmnnnnnnnanr^n 
nnnnBu^r:  nnnnn 
nnnnjnnnnnnnu* 
nnnnnnnnannnrn 
□□□■HDnnnnornn 
nnnnnnnrcnGnMn 
nnnnnnnM^nnonn 
rxwnnnnnnnnnnn 
nnnnnnnnnnnam 
nnnnnnBcinnnnnn 
nannnnirnnnnnnn 
nnnnnnnnnnMrna 
nnnnuMnnnnnzinn 

liinnnnnnnnnnnnn 

Fig.  123. 

i5nnnnnnnnnnn*nnn 
nannnnnMnnnnnnn 
nnnHonnnnannnnn 
nnnnnnnnnnnnnnM 
nnnnnnnnnnanann 
nnnnnnMnnnnnnnn 
nnanonDnnnnnnnn 
nnnnnnnnnnnnnan 
nnnnnnnnn«n~nnn 
nnnnnannnnnnnnn 
nannnnnnnnnnnnn 
nnnnnnnnnnnnann 
nnnnnnnz ■nnnnnn 
nnnnHnnnnnnnnnn 

i*nnnnnnnnnnnnnn 

1  15 

Fig.  124. 

lennnnnnnnnnrnrBnn 
nnnn  innnnn«nnnnn 
nnnnnnnBnnnnnncn 
□□ncwnnnnnnnnnnn 
nannnnnnnnnnnGnn 
nnnnnnnnnnnnnc  «n 
nnnnnnnnnnnM^nnn 
nnnnnnnzBjnnnnnn 
nnnnninnnnncn^nn 
□□■nnnnnnnnnnnnn 
nnnnnn:  jannnnnnnB 
nnnnncnnnnnnannn 
nnnnnnrnn*unnnnn 
nnnnnaKni:nnnnnnn 
nnnannnnnnnnnnnn 

lMnnnnnnnnnnnnnnn 

1  16 

Fig.  125. 


For  i^-harncss  we  find  two  perfect  satins  by  dividing  the  14  into  3  plus 
1 1,  and  5  plus  9. 

The  design  most  frequently  used  for  this  number  of  harness,  and  which 
is  illustrated  in  Fig.  123,  is  derived  by  counting  off  with  5,  as  follows:  1,  6, 
II,  2,  7,  12,  3,  8,  13,  4,  9,  14,  5,  10. 


For  1  ^-harness  three  different  regular  satins  can  be  made,  as  1 5  can  be 
divided  into  2  plus  13,  4  plus  11,  7  plus  8. 

The  number  most  frequently  employed  for  counting  off  is  4,  which  gives 
the  points  for  intersection  as  1,  5,  9,  13,  2,  6,  10,  14,  3,  7,  11,  15,  4,  8,  12. 

The  design  for  it  is  found  in  Fig.  124. 


For  16-Jiarness  three  different  satin  weaves  can  be  designed  by  dividing 
the  16  either  in  3  plus  13  or  5  plus  1 1  or  7  plus  9. 

Using  the  number  most  frequently  employed  for  counting  off  the 
points  for  intersecting  warp  and  filling,  which  is  3,  we  find  1,  4,  7,  10,  13, 
!6,  3,  6,  9,  12,  15,  2,  5,  8,  11,  14,  as  represented  in  design  Fig.  125. 


After  the  method  given  thus  far  for  finding  the  different  satins  from  the  lowest  number  of 
harness  (the  5-harness)  up  to  the  16-harness,  it  will  be  easy  for  any  student  to  find  the  different 
satins  for  any  number  of  warp-threads  in  repeat  (harness)  that  may  be  required.  Those  given  in 
our  lecture  will  comprise  those  most  frequently  Used. 


29 

Table  for  finding  the  Satin  Weaves  most  frequently  used. 


1 

Number  of 
Harness. 

SUCCESSION  OF  STITCHES. 

Number  for 
Counting 
off. 

!   5  harness... 

j 

a 
o- 

c 
o- 

2. 

4- 

1 

2. 

6  " 

I. 

3- 

c 

2 

6. 

A 

4- 

O. 

7     "  ••• 

x. 

c 

h 

2, 

4- 

6. 

2. 

j  8    "  ... 

A 

4- 

n 

/• 

2. 

r 

5- 

8. 

■7 

3« 

6. 

3- 

9     "  ... 

I. 

6 

c 

0' 

7 

2. 

4- 

o. 

Q 
O. 

2. 

IO  " 

I. 
I. 

A 

4- 

7 

10- 

6. 

2 

c 
o- 

8. 

3- 

ii  " 

Q 
if' 

2. 

6. 

IO 

3- 

<7 
7" 

4- 

Q 
0. 

4- 

u  1 
12                ...j  I. 

8. 

3- 

IO. 

5- 

12. 

7- 

2. 

9- 

4- 

II. 

6. 

7. 

13     "  - 

I- 

6. 

ii. 

3- 

8. 

13- 

5- 

IO. 

2. 

7- 

12. 

4- 

9- 

5. 

1 

i  14  " 

I. 

6. 

ii. 

2. 

7- 

12. 

3- 

8. 

13. 

4- 

9- 

14. 

5- 

10. 

5- 

15     u  - 

i. 

5 

9- 

13- 

• 

6. 

IO. 

14. 

3- 

7. 

II. 

15- 

4. 

8. 

12. 

4- 

16 

i. 

4- 

7- 

IO. 

- 

i 

16. 

3- 

6. 

9- 

12. 

15- 

2. 

5- 

8. 

11. 

14. 

3- 

Fig.  126. 


Influence  of  the  Twist  of  the  Yarn  upon  Fabrics  interlaced  with  Satin  Weaves. 

To  produce  certain  effects  on  fabrics  interlacing  on  a  satin  weave  the  same  may  require  a 
certain  twist  of  the  warp  or  the  filling,  or  in  both  systems.  Fabrics  made  on  a  satin  weave  may 
for  their  effect  require  the  satin  twill  to  be  more  or  less  visible ;  again  it  may  be  desired  to  see 
none  at  all.  Therefore  in  all  cases,  before  deciding  as  to  the  direction  and  amount  of  twist  to  be 
put  in  the  yarn  for  any  kind  of  a  fabric  to  be  made  with  a  satin  weave,  we  must  consider  whether 
the  face  is  to  be  formed  by  the  warp  or  the  filling  and  whether  the  satin  twill  is  to  be  visible  or  not. 

For  example:  Take  a  fabric  to  be  made  with  the  5-harness  satin.  If  we  have  to  use  warp  for 
face  and  want  the  satin-twill  effect  distinct,  we  must  use  the  design  shown  in  Fig.  104  with  a  warp 
yarn  twisted  to  the  left.  If  we  "want  to  produce  a  fabric  requiring  a  smooth  face,  as  doeskin, 
kersey,  beaver,  etc.,  and  have  the  warp  yarn  twisted  towards  the  left,  we  must  use  the  design 
illustrated  by  Fig.  108. 

Arrangement  for  Commencing  the  Satin  Weaves  for  Special  Fabrics,  such  as  Damask 

Table  Covers,  Towels,  etc. 

In  fabrics  where  "  warp  up "  and  "  filling  up "  satins  are  figured  as  in  previously 
mentioned  fabrics,  we  have  to  change  the  commencing  of  the  weave  from  the  beginning 


30 


with  one,  so  as  to  get  a  perfect  joining,  respectively  cutting  off  from  the  warp  effect  to  the 
filling  effect. 

In  this  class  of  fabrics  the  weave  must  commence  in  the  following  manner :  The  last 
warp  and  filling  thread  of  one  effect  must  work  in  an  opposite  direction  to  the  commencing  of 
the  first  warp  and  filling  thread  of  the  other  effect.  Hence  the  5-harness  satin  for  such  fabrics 
will  be  4,  1,  3,  5,  2  (see  Fig.  127).  The  8-harness  satin  will  read  3,  8,  5,  2,  7,4,  1,6  (see 
Fig.  128).    The  10-harness  satin  7,  10,  3,  6,  9,  2,  5,  8,  1,4  (see  Fig.  129),  etc.,  etc. 

DMnnn 
nnnna 
nn«nn 
■nana 


Fig.  127. 


nnnnnBnn 

rannnn 

n*nnnnnn 
□□□□■nan 
nonnnnn* 
nnannnnn 

Fig.  128. 


□□□■nnnnnn 
■nnnnnnnm 

BnnnnnnMnn 
BSfflnuuun 
nBaoaaanaa 
nnnnanc " ' 
nnnnr : : 
BSinnnnt 
nannnnnnni 
nnannPEraa 

Fig.  129. 


[□■■■■□-■■■■□■□□nnMBMBnBncznBnnnnBn1  .□□■■■■□■□nnn 
■■□■MMHnBMBMnMBnnBnnMHnMBnnB'jnnDHiinnnBanMBOBHnDHnn 
■  ■■■  iBHHBnBBBMnaQ3MnMMBBnnu3BPnncHnnjnBnMBBMnnnoB 
■■■□■MB«n«BB«n»n*nnnBBBnMnBnnnnBnnnn*nnnMBMn*nMnnn 
■□■■■■□■■■■HBMMnDnBnBnBBManDBan^cBz,DnnBnBnBMBnanHO 
BBBB:~BBSflL:flBflfl:,B: :: :. ::  ;bbbb:jb:::  ::  :: :■: ni  :: : 
bbpbbbb.  tBBBBnBBnnBnnBBnBBt ::  :■: :: :: ;:  :■: ::  ■■~:mh:. 
ubbbb^bbbbubbbb: 11 ::  :: :: 11  :■: :: :: ::  :■: :; ;: ::  ::  inn* 

■■■□■•■■□■■■MnMnHnnnMBMnBnBnnnnMnnnn*nnnBB«nBnBDnn 
bubbbb.  .bbbbqbbb: ;: ::  :: ::.::. :b:_b:.:bbb:.::.::  ibq 

am  :BBBBnBBBBaBaaaaBBBBnBnnnaBnannBnanDBBBBnBr:naa 
■■□■■■■□■■■■jiiULMnoiiniinnMnnnninnnDinniinBiDCiDn 
libbbe  :bbbb  b:  :bbbb::lj:  ::.:b:::::  :::b:.::  ::::  :b:  bbbb  a 

■BBnBBBBnBBBBziBnBnnnBBBDHnBnnnnBnnnnBnnnBBBnBnBnnn 
□□□Bnnn^BnnnnB^BOBBBnnnBnBnBBBBnBBBBnBBBnnnBnBnBBa 
HnnnnBnnjDBnnn^BBBBi3BLjannBBBBnBBBBnBBBBaBnnnnBBBBn 
nainnaninaaninniiaiio!  .b.  br hoi  iiii  11:  in  bb 
nnaaBi  :: .b.  ::  1  1111:  o  11  :b:.:bbbb:_bbbb:  ■■■■  .:  b  bbbb 
□■□□□□■□□□□■□□□■■■□■□■□□□■■■□■■■■□■■■■□■□■nnnBBBOB 
MaMBBB::BBBB:.:BBB:.rj:  :b:_;b:  :bbb:  ::  ::.:b:  :: in:  :b:  ::  inaBi  ;b:  :bbb::::_-::bzi 
bbbbubbbb:  :bbbb::b:  :: :: ::  :bbbb:  warn  ::  .a:  1: :: ::  :b;  :: :; ::  .'bbbb:  :b:  :: :: :: : 
■Bi:BBBBjBBBBnBBnLJBnnBBnBBnnBonnnBnnncBnnBBnBBnnBnn 
ciiib  .bbbb  niiinnnninMMnDOMonnninnnniniiMnnnni 
MBBnBBBBOBBBBnBaBnnnBBBnBnBnnnnBnuanBnnnBBBnBnBnnn 
nnnBnnnnBnnnaBnBnBBBnnnBnBnBBBBnBBBBnBBBnnnBnBDBBB 
BnaanBann^BzinnnBBBBnBnnnnBBBBnBBBBnBBBBnBnnnnBBBBn 
nnBnnnnBnnnnBanBBi  ■■  ■  n  .bb  iiii  ihi  ii  ■  :  bb  ia 
□□□□■□□□□■□□□□■□■■■■^[□□□■□■■■BnBHHBnBBBBnnnnBnBBBB 
nBnnnnmnnmBnnnBBBnBnBnnnBBBnBBBBnMBBBnBnBnnnBBBDBi 
nnnBnnnDBnannBnBnBBBDnnBnBnHBBBnBBBBnBBMnnnBnBDBBB 
■aanaBio  ::  :b:  ::  ::  :  :nifl::iiii:  :bbbb:  :b:  :: :: ::  mi:  : 

n:  :b: :b:     :jb:::jbb:  bb.::  b:  ::  11  ■■■■  ihii  bb:  bb 

□naninnnnin^miniiiinaQniaiiiiniiiiniiiinnoniniHi 
nBmmBnnGnBnnnBBBnBnBnnnBBBnBBBBnBBBBDBnBnnLiBBBnB 
ncnBnnnnBnnnnBnBnBBBnnnBnBDBBBBnBBBBnBBBnnDBZBDBBB 
BnnnnBnnanBnnnnBBBBGBnnnaBBBBnBBBBnBBBBnBnnnnBBBBn 
DninnnniananinniinManinnMniiiiniiiKMnniDDiinii 
BnnnB^nanBnnnnBnBBBBnnnnBnBBBBnBBBBnBBBBnnonBDBBBB 
nBunnnBmnnBnmBBBnBDBnmBBBnBBBBnBBBBCiBnBnnnBBBnB 
BnBBBBaBBBBnBBBnnnBnBnBBB^nnB^nnnB^nnnBnBnBBBnnDBn 
BBBBDBBBBnBBBBnBnnnnBBBBnBnn^nBnnnnBnnnnBBBBnBnnnn 
bb.  .bbbb  .bbbb  :■■:  1'Smj.'. ~bb: .:bb.  ::  b:  :: :: :'  :b:  :: :: ::  b:  ::  bb:  bb::hb:  in 
:  bbbb  bbbb.  'bbbb'..::  mami  :bbbb:  :: :  :'  iBnnnnBnnnnBDBBBBnnnnB 
BBBOBBBBaBBBBnBaBnnnBBBnBnBannnBnnnnBnnnBBBnBnBnnn 
nnnBLjnanBnnnDBnBnBBBnnnBnBnBBBBnBBBBnBBBnnnBnBnBBB 
BnnnnBnnnnBnn:aDBBBBaB3ii3CBMBBnBBBB:  1111:1  ■■■■  ] 
; :i-:b:7.j: :::b:  :: 1; ::  :b:  :.  :bb:  bb:.:  :b:  ::  .bb:  hii  ^hii:  ii  ::  b:  ::  11:11 
nnnnBnnnDBnnjnBnBBBB^nDnBnBBBBDBBBBnBBBBnnnnBnBBBB 
EiBnnnnBnnnaBnnnBBBnBnBnnnBBBnBBBBnBBBBnBnBnnnBBBnB 


Fig.  130. 


Fig.  130  is  designed  to  illustrate  a  fabric  figured  with  the  5-harness  warp  and  filling  satin, 
and  Fig.  131  is  designed  to  illustrate  the  figuring  applied  to  the  8-harness  warp  and  filling  satin, 


BBnBBBBBBB^BBBBB^nnnBnnnnn^nBnn 
BBBBBBBnBBBBBBBDBnnnnnnnBnnnnnan 
MBBBUBBBBBBB^BBBnnnBnnnnnmBnnnn 
"[□■■■■■■■□■■■■■■nn:i:]:jninnnnnnnin 
□■■■■■■■niniannnnDninnnann 
inBBBBBBBnBBBBnnnnBnnannnnBnna 


□BBBBBBBnnnnnnnBnnnnnnnB 
(□BBBBBBBnBBnnBnnnnnnnBnnnnn 
iBBBBnBBBBBnnnnnBnnnnnnnBda 
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bibbb  iiiiiii  :bbb:  :: ::  mm  :: :: ::  wnnnn 
BinBBBBBBBnBBBBBBnnnnnnBnnonnnnHn 
BiBBBBBnBBBBBBBnBnBnnnnnnnBnnnDnn 
•■miiiiiioiiiinnDniDnnnnnniann 
nBBBBBBBnBBBBBBBnnnnnnnBnnnnnnnB 
BBBBB^BBBBBBBnBBnnBnonnnnnBnnnnn 
DnnnnBnnnnnnnBnnBBnBBBBBBBaBBBBB 
■nnnnnnnBnnnnnnnBBBBBBB3BBBBBBBp 
nnniannnnnDinnnniiiijiiiMiiniBB 
nnnnnniQonnnnnininiiiiiiiniiiBBB 
nBnnannnnBnnnnnnBBBBBBnBBBBBBBnB 
nnn^B^nannnnBjnnBBBnBBBBBBB'  bbbb 
□□□□□□□B-arnmnnnBnBBBBBBBnBBBBBBB 
□□Bnannn:]aBnnnanBBBBBjiiBiiBi:iB 
nnnnnBnnnnnnnBnnBBnBBBBBBBnBBBBB 
Bn^nnnnnBnnnnnnnBBBBBBBnBBBBBBBid 
nnnBanannnnBPannBBBBnBBBBBBBn. 
nannnnBnnnnnnnBnBnBBBBBBBn 
nBnnnnonnBnnnnnnBBBBBBnBBBBBBBn 
nnnnBnnnnnGnBnnnBBBDBBBBBBBn 
nannnnnBnnnonnnBuBBBBBBBn 
uaBnnnnannBunnnnBBBBBnBBB 


Fig.  131. 

Before  proceeding  with  the  construction  of  weaves  (derivative  weaves  from  the  previously 
explained  foundation  weaves),  we  will  next  treat  of  drawing-in  drafts,  followed  by  drafting  of 
weaves  and  reed  calculations. 


"Drawing  in  the  Warp  in  its  Harness,"  and  the  preparation  of 

the  drawing-in  drafts. 

Description  of  the  operation — Methods  used  for  making  out  a  proper  drawing-in  draft- 
Different  systems  of  drawing  in  drafts. 

Drawing  the  warp-threads  in  the  Heddles  (which  are  adjusted  to  the  different  Harness 
frames)  forms  the  beginning  of  the  practical  part  in  weaving;  the  making  out  of  the  order  (or 
arrangement)  in  which  this  has  to  be  done,  constitutes  one  of  the  first  lessons  in  the  theory  of 


weaving  and  designing. 


THE  HARNESS. 


The  harness,  or  harness  shaft,  also  termed  a  shaft,  (see  Fig.  132)  consists  of  a  "Frame*' 
(marked  A),  and  the  iron  rod  (B)  for  holding  the  heddles  (C).  Through  the  eyes  (D)  of  the 
heddles  the  warp-threads  are  drawn  as  illustrated  by  E. 

For  drawing  in  a 
warp  in  its  "  set  of  har- 
ness," two  persons  are 
required.  The  "draper- 
in"  inserts  his  "  drazving- 
in  hook  "  through  the  eye 
of  the  heddle,  towards 
the  second  person  called 
the  "  hander-in."  The 
latter  inserts  one  of  the 
warp-threads  in  the  "eye 
of  the  hook,"  which  in 


ira  -  ro 


tlC.  I32. 

turn  is  pulled  out  of  the  heddle-eye  by  the  first-mentioned  person. 
Two  different  systems  are  used  for  drawing-in : 
1st.  Indicating  the  harness  nearest  to  the  warp 
beam  as  the  first,  the  nearest  to  it  as  the  second,  and 
so  on  until  all  harness  are  used.  This  method  is  tech- 
nically known  as  "drawing-in  from  back  to  front"  and 
is  clearly  illustrated  by  Fig.  133. 

2d.  Indicating  the  harness  nearest  the  reed  as 
number  one,  the  nearest  to  it  as  the  second,  and  so  on 
until  all  harness  are  used.  This  method  is  technically 
known  as  "  drawing-in  from  front  to  rear,"  and  is  illus- 
trated by  Fig.  134.  (This  is  the  system  most  gener- 
ally used  in  this  country). 


It 


Wfti 


ro 


}  E 


UtedL 


\Ta,TjDthread£ 


fUed. 


WarptAnacU* 


Principles  of  a  Drawing-in  Draft. 

The  drawing-in  draft  must  clearly  indicate  the  Fig.  133. 

rotation  for  drawing  the  warp-threads  in  the  heddles  on  the  different  shafts, 
must  be  made  in  accordance  with  one  or  the  other  of  the  following  methods : 

A. — It  may  be  made  by  using  common  designing 
paper  and  indicating  the  rotation  by  marks.  In  em- 
ploying this  method  the  rotation  of  the  harness  must 
be  shown  either  by  numbering  the  horizontal  rows  of  Fig.  136. 
squares  which  indicate  the  harness  on  the  left  side 
35),  or  by  placing  the  word  "Front"  on  the  proper  place  so  as  to  avoid 
(see  Fig.  136). 

(31) 


8  nnnnnnnnnnnnnMn 
7  nonnnnnnnnnnMna 

,  5  nnnnnnnnnnMnnr" 


nnng 
□nnn 


4  nnnBnnnnnMnnnnnt 
3  mMZMnnnannnnnt 
2  □■□nnMtiMnnnnnnnn 
1 ■nnSnnMnnnnodnnn 
Fig.  135. 


of  the  draft  (see  Fig. 
any  misunderstandin; 


Fig.  134. 
This  arrangement 


UUUUU«nDDnDDM3 

□□□■□□□■□□□□□n 
□□■□□□□□■nnnnn 

■nnnnnnnnnnnnn 

Front. 


32 


4. 

% 

v. 

3- 

3. 

3. 

3. 

z 

Z. 

a. 

i?. — Another  method  is  by  using  the  same 
paper  as  before  for  the  draft  but,  in  place  of  the 
marks,  employing  numbers  indicating  the  harness 
to  be  drawn  on  (see  Fig.  137). 

C. — A  third  method  is  by  using  horizontally 


M 


Fig.  138. 


Fig.  137. 

ruled  paper  for  indicating  the  harness,  and  drawing  vertical  lines  indicating  the  warp-threads  on 
the  former.  The  stopping  of  the  vertical  lines  on  one  of  the  different  horizontal  lines  indicates 
the  drawing  of  the  different  warp-threads  on  one  of  the  different  harness.  The  horizontal  lines 
must  be  numbered  (see  Fig.  138). 

Different  Divisions  of  Drawing-in  Drafts. 

Drawing-in  drafts  are  in  general  governed  by  the  different  weaves  for  which  they  are  used, 
and  are  divided  into  "  Straight  Drawing-in  Drafts  "  and  "  Fancy  Drawing-in  Drafts." 

Straight  drawing-in  drafts  are  those  in  which  the  heddles  of  the  different  number  of  harness 
the  "set"  contains  are  used  in  rotation;  and  after  the  last  is  used  the  first  is  employed  over  again 
until  all  the  warp-threads  are  taken  up.    For  example,  in  4-harness  we  commence  to  draw  in  :— 
The  first  warp- thread  on  the  1st  heddle  on  the  ist  harness. 


The  second  " 

ist  " 

"  2d 

(( 

The  third 

1st  " 

"  3d 

a 

The  fourth  " 

1st 

"  4th 

u 

The  fifth 

2d 

ist 

(( 

The  sixth 

2d 

"  2d 

a 

The  seventh  " 

2d 

"  3d 

ii 

The  eighth  " 

2d 

"  4th 

a 

The  ninth  " 

u         3d  « 

ist 

it, 

and  so  on,  until  every  warp-thread  the  warp  contains  is  taken  up. 

Fig  1 39  illustrates  the  double  repeat  of  a  4-harness  straight  drawing-in  draft. 
Fig  140  illustrates  the  double  repeat  of  a  6-harness  straight  drawing-in  draft. 


dwdepmpB 

Front. 

Fig. 


ennnnni 
snnnnMnnnnnMn 
4nnnannnnnMnn 
3n:z;Mnnnnn*nnn 

i*nnnnnMnnnm 
Fig. 


139.  tic  140. 

Faiicy  drawing-in  drafts  are  generally  used  for  reducing  the  number  of  harness  necessary 
(repeat)  for  producing  a  certain  kind  of  weave  in  a  fabric.  In  looms  constructed  for  certain 
classes  of  goods  (mostly  in  cotton)  and  which  can  be  operated  only  on  plain  and  common  twills 
with  regard  to  their  motion  for  raising  the  harness,  the  fancy  draws  will  often  become  a  necessity. 

The  method  of  making  out  fancy  drawing-in  drafts  for  certain  weaves,  technically  known  as 
"drafting,"  will  be  dealt  with  later  on. 

Sub-Divisions  of  Fancy  Drawing-in  Drafts. 

A.  Broken  draws. 

B.  Point  draws. 

C.  Section-arrangement  draws  (ist,  plain,  2d,  double). 

D.  Skip  draws. 

E.  Mixed  draws  (cross  draws). 

A. — Broken  Draws. 

Drawing-in  drafts,  graded  under  this  division,  have  their  method  of  drawing  arranged 
(similar  to  the  principle  of  the  satin  weaves)  as  much  as  possible  broken  up,  scattered,  yet  regularly 


33 


distributed  over  the  repeat  of  the  draft.  •  We  also  classify  under  the  present  division  of  drawing- 

in  drafts  such  as  are  necessary  for  producing  broken-twills,  i.  c,  in  which  we  draw  for  a  certain 

number  of  threads  from  front  to  rear;   next  arrange  the  draw  to  miss  one-half  the  number  of 

harness,  and  draw  a  certain  number  of  threads  (as  required  by  the  design)  from  rear  to  front; 

next  miss  again  one-half  the  number  of  harness,  and  commence  again  to  draw  from  front  to  rear. 

For  example:  Fig.  141  illustrates  a  broken  draw  for  8-harness.  Commence  to  draw  harness  1  to  8 

straight  through  from  front  to  rear  twice  over,  next  miss  one-half  the  number  of  harness  =  4 

thus:  8  —  4  =  4;  commence  on  harness  4,  to  be  followed  by  3,  2,  1,  8,  7,  6,  5,  4,  3,  2,  1,  8,  7,  6,  5  ; 

next  miss  again  four  harness,  giving  you  harness  1  for  starting,  to  commence  to  draw  from  front 

to  rear  over  again  (repeat  in  the  present  example).  snnnnnnnB 

The  present  division  of  drawing-in  drafts  finds  exten-  nn5nni5n 
r  ,  _  _  _     53  □gggbggg™ 

sive  use  m  the  manufacture  of  fancy  worsted,  woolen  and  ■  :mm 

On  looms   known  as  "  roller-looms,"  innnnnnnn:  ' 


cotton  goods. 


"  cam-looms,"  this  system  of  drawing-in  drafts  forms  the 
only  means  for  weaving  satins,  corkscrews  and  similar  popular  weaves. 

Fig.  142  illustrates  a  broken  draw  for  4-harness. 


zr:::r.m,r:r: ::   w  :.  :  1 

□□□■on       ■  ■'  : 

□Mnnnnnnnnn:  ■: ::  :g:  :c; 
■nnnninnnmoninni  igi  ini  1 
□:  :         ■  ■  :: 

□■□□□□□□cmud:  .:n'-nnr;Bnnn:jn:  n  ■ 

nnnnnnnnnHnnnmnnannrfl 
Fig.  141. 


H3 
144 


5 


i«nnnMnnn 

Fig.  142. 


5nnnBnnnnMn 
lMnnnnMnnnn 


saaGGGMGGGGGnGHQa 
□□■nnnnnanBnn^nn 

cnnoBGnanznnBiznn 

GBGOGGGGL'BGGGGGG 

GQGr.'.GGMQGG'  :g: 
QQGBuQGnQGGBQCI  ]H 
lUGGGGGGCMGaGGGGG 


Fl6.  143. 


Fig.  144. 


B. — Point  Draws, 


In  regular  point  draws,  we  draw  from  front  to  rear  once  straight  through  the  entire  set  of 
harness,  and  afterwards  draw  from  rear  to  front  and  repeat.  For  example  see  Fig.  145.  Com- 
mence to  draw  in  from  the  first 
harness  straight  through  to  the 
last,  A  to  £,  and  back  again, 
B  to  C.  Designs  for  these  draw- 
ing-in drafts  must  be  arranged  so 
as  to  repeat  forwards  and  back- 
wards respectively  in  the  centre. 
Such  a  weave  will  run  upwards,  at  a  given  angle,  to  a  definite  point;  then  it  will  return  by  the 
same  angle  in  an  opposite  direction  until  it  reaches  the  base  from  which  it  originally  started.  In 
these  kinds  of  drawing-in  drafts  the  "point-harnesses"  are  only  once  drawn  on,  while  the  other 
harnesses  are  used  twice  in  one  repeat  of  the  weave.  Hence  an  8-harness  regular  point  draw 
will  require  14  warp-threads  for  one  repeat;  a  12-harness  regular  point  draw  will  require  22  warp- 
threads  for  one  repeat,  and  so  on  ;  always  giving  the  double  number  of  harness  less  2  as  the 
number  of  warp-threads  in  one  repeat. 

Fig  146  illustrates  a  double  repeat  of  a  regular  8-harness 
point  draw.  Warp-threads  1,  8,  15,  22  are  the  point-threads 
or  the  warp-threads  which  are  drawn  in  the  heddles  on  the 
point  harnesses. 

A  change  from  the  regular  point  draw,  but  belonging 
in  its  principle  of  construction  to  it,  are  drawing-in  drafts 
in  which  we  draw  in  one  or  the  other  direction  (front  to  rear  or  rear  to  front)  continually  for  two, 
three,  four  or  more  times  before  changing  to  the  other  direction. 


8naGcnaaMaaannGcnGnGGG*nGGr:r:r: 

nnGGaGMGBGGGGGGaGGaaMGBnLGL a 
□QuQBBnGDMuDQOGOQODBUi  iGBGOOO 

DannHnnnnnMnaGacGCBGGnGL-BGCG 
paGManaanaaiaaanaBaaDpuDGMr a 

GGMDQnPGGQQGWOOOWGPQPGQOGQBP 

GBanaannnaaaaBaMaaQaaaGGai  _l  u 

IHGGQGOQCGnGGGQMGQQGOGGGGGCCL-; 
I  8  15  22 

Point  Warp-threads. 
Fig.  146. 


34 


#Fig.  147  illustrates  a  specimen  of  these 


6nnnnnHnnnnnHnannn*rnnnnnnnnnBnnnnnsnnnnnHnnan 

nnnBnnnnnBnnnnnBnnnBnnnmBnnnonBmaBnMngLJHnn  kind  01  dialts  to  be  made  witn  o-narness. 


□■□□□□□■□□□□□BannnnnnBnBnnnnnBnnnnnBnnnnonnB  An  examination  will  show  us  a  drawing- 
lBnnnnnBnnQanBnnnnnnnnnBannnnBnnnnnBnannnnnnn  .  5 

Fig.  147.  straight  three  times  from  front  to  rear  with 

an  additional  from  rear  to  front  (two  repeats  shown  in  draft).    A  second  sub-division  of  the 

point  draws  are  point  draws  containing  the  effect  of  a  zigzag  which  are  used  to  a  great  extent  in 

weaves  for  fabrics  imitating  Jacquard  work. 

Fig.  148  illustrates  such  a  specimen  drawing-in  on  12-harness. 


nnnnnnnnnannnnnnnBnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnBnnnnnnnnnnnnnonn 
nnnannnnnnnnnnanBnBnnpnunnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnanBnBnnnnnnnnnnnnnnn 
nnnnnj3:::ananaanBnpnBnnnjnnnLnnnnnnnnnnnnnnmnnnnnnnonnnmnmnnBnnnBnnnnnnonnnnnon 
nnnannnnnnannnBanunaB^'annnnnnnnnnnnnnnnnnnnnnnnnnnannnnnnnnnBnnnnnBnnnnnnnnnnnnn 
n^nannnBanannBrjnnpanuBLannnnBnannnnnnnnnnnnnnnnnnnnnnnBnnnnnBnnnnnnnBcnnnnBnnnnnn 
nnnannBnBnDnBnnnannnnaBnnnBnBnnnnnnnnnnnnnnnnnnnanaoBnBnnnBnannnnnnnBnnnBnBonnnn 
nnannBn3nBnBjnnnnnnnnnaBnB3nnBannnnnnannnnnnnnnmnnBnnnBn«nnnnnpnnnnnBOBnnoBnnnn 
nnnnBnnnnnBnnnnnnnnnannnBnnnnnBnnnnnnnnnnnnnnnnnnnBnnnnnBnnnnnnnnnnnnnBnnnnnBnnn 
nnnBnanjnjnunnnanannnu^'j'jnnnnnnBnnnanBnnnnnBnnnDnBnnnnnnnnnnnnndnnnnnnnnnnnnnBDn 
DnBnnnnii^nnnnaannnnnnpnnnLiannunuBnanBnBnnnBnBnnnBnnnnnnnnnnnnnnnnnnnnnnnnnnnnnBn 
nBnannnanannannnanannniannnunnannnBnBnnnBnBnnnBnBnnnnnnnnnnnnnnnnnnnnncnniinnnnnnB 
BDnnnnnnnnnnpnnnnnnnnnnnnDnnnnDnnnBnnnnnBnnnnnBnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 

Fig.  148. 


2d  set. 


1st  set. 


C— Drawing-in  Drafts  having  a  Section  Arrangement. 

ist. — Plain  Draw. 

i2nnnnnnnnnnnnnnnnnnnnnnn©nnnnn©nnnnn0nnnnnnnnannnnnnnnnnnnnnennnnn©nnnnni) 
□nnnnnnnnnnnnnnnnnnnnn©nnnnn®nnnna©nDnnnnnnnnnnDDnnnnnnnnn©nnnnnynnnon©a 
□□□□□□□nnnnnnnnnnnnnn©nnnnn0n3nnn&nnnnnnnnnnnnnnnnnnnnnnn(annann©nnann©nn 
nnnnnnnnnnnannnnnann0nnnnn©nnpnn©nnnnnnnnBnnnnnonnnnnnnn©ncnnn©nDnnn©nnn 
□□□□□□□□□□□□□□□□nnn©nGann©nnnnn©nnnnnnnnnnnnnnnnnnnnnnn©nnnnn©nnnnn©nnnd 

7nnnnnnnnnnn3nnnnnn©nnnnn©nQnnn©nnnnnnpnannnnnnnnnnnnnn©nnnnD©nnnnn©nnnnn 

6unannBnnoanBnnapnBnnnnnnonnonnnnnnnnnonnnBnnnnnBnnnnnBnnnaDnnnnnnDnnnnnn 
nnnPBannanBnnnnnBnnnnnnnnnnnnnnnnnnnonnnBnnnnnBnnnnnBnnnnnnnnnnnnnnnnnna 
nnnBnnnanBnnnnnBQnnnnanuunnnuunnnnnnnnnBnnnnnBnnnnnBnnnnnnnnnnnnnnnnnnon 
nnBnnnnnBnnnnnBnnnnnnnnnnnnnnnnnnnnnnnBnnnnnBnnnnnBnnnnnnnnnnnnnnnnnnnna 
nBnnnnnBnnnnnBnnnnnnnnnnnnnnnnnnnnnnnBnnnnaBnnnnnBnnnnnnnnnnnnnnnnnnnnnn 

lBnnnnnBnannnBnnnnnnnnnnnnnnnnnnnnnnnBnnnnnBnnnanBnnnnnnnnnnnnnnnnnnannnn 


Fig.  149. 

These  drawing-in  drafts  are  used  to  a  great  extent  in  the  manufacture  of  damask  table 
cloth,  towels,  fancy  cassimeres,  worsteds,  etc.  For  these  styles  of  draws  two  weaves  are  com- 
pounded into  one,  each  one  being  operated  on  its  own  part  of  the  harness  set.  The  manner  of 
using  two  sections  we  find  frequently  extended  to  three  or  more  sections,  requiring  a  correspond- 
ing number  of  weaves  to  be  compounded  into  one. 

In  Fig.  149,  we  illustrate  a  specimen  of  such  a  kind  of  drawing-in  draft.  Harness  1  up  to 
6,  inclusive,  forms  the  first  set;  harness  7  up  to  12,  inclusive,  forms  the  second  set. 

2nd. — Double  Draws. 
These  drawing-in  drafts  are  generally  used  in  weaves  for  double  cloth  fabrics, 
system  of  warp-threads  (face  and  back)  getting  its  own  harness  set. 


Each 


i6nnnnnnnnnnnnnnnnnnnnnn©n 
3nnnnnnnnnnnnnnnnnn©nnnn 


nnnnnnnnnnnnnnnn©n 


2d  set. 


1st  set. 


nnnt 


nnnnnnnnnnnnnnnnnnnn© 
nnnnnnnnnnnnnnnnn©nnn 
nnnonnnnnnnnnnnSnnnnnn 
■"nnnnnnnnn 
nnnnnpnnnn©nnonnnnnnnnn: 
— nnnnnnnnnn' 


nnHBnc 

nnnnnnnnnn©nnnnnnnnnnnnt 
innnnnnennnonnnnnnnnnnnnnnnr  

3nnn©nnnnnnnnnnBnnnnnnnnnnnn©QDnnnnnnnnnnnnnnnnn 
9n©nnnnnnnninnnnnnnnnnnnnnn©nnnnnnnnnnnnnnnnnnnnnn 
snnnnQnnnnnnBnnnnnnannnnBnngnnnnnnnnBnnnDnnnnnnnr 
nnnnnnnnnBnnnnnnnnnnnBnnnnnnnnnnnBnnnnnnnnnnBi 
nnnnnnnnBnnnnnnnnnnnBnnnnnnnnnnnBnnnnnnnnnnni 
nnnnnnBnnnnnnnnnnnBnnnndqnnnnnBnnnnnnnnnnnBnnnnn 


fqanni  luuuuuuusinnnoa 


inunnBnnnnnnnnnnnBnnnnnnnnnnnBnnnnnnnnnnnBnnnnnn 
"inynnnBnnnnnnnnnnnBnnnnnnnnnnnBnnnnnnnn 
innnnBnnnnnnnnnnnBnnnnnnnnnnDBnnnnnnnd 
iBmnnnnnnrjnnBnDDnnmBDa^ 


innnBnnnnnnna 


8 


Fig.  150. 


Fig.  150  illustrates  a  drawing-in  draft  to  be  classified  in  this  system.  1st  set  of  harness,  1,  2, 
3.  4,  5,  6,  7  and  8;  2nd  set  of  harness,  9,  10,  II,  12,  13,  14,  15,  and  16. 

2d  set.  <j  nnng©ngnnnnn©nnnnnnn 

Fig.  151  illustrates  another  specimen  of 
drawing-in  draft  for  12-harness  repeat. 


1st  set.  < 


nnn©donnnnn©nnnannn©nnnnnnn©nnnn 
9n©nnnnnnn©nnnnnnn©nnnnnnn©nnBnnL 
snnntxinnnnnnnnnBnnnnnnnnnnnnnnnBt: 
□DnnnnnDDnnBnnnnnqnQannnnnngnnt 
nqnnnnBpnpnnnnnnnnnnnnBnnnnE 

1  nnQn 


innnnBnnBnnnnnnnnnnnnnnnBnnpnnnn 
innnmBannnnnnnnnnnnnnBnn*^- 
pnnnBnpnnnnnnnnnnnnnBnnnn_ 
nnBnnnnnnnnnnnannnBnnnnnnn' 


pnQBnuuulJuannmuuuuBnnni  h  iijmb 
1  BannnnnnnnnnnnnaBnnnnnnnnnnnnant 


Fig.  151. 


D. — Skip  Draws. 

These  draws  are  in  their  origin  short  straight  draws  in  a  larger  number  of  harness.  After 
drawing  a  certain  number  of  warp-threads  plain  straight,  commence  anew  again,  but  one,  two  or 
more  threads  higher  or  lower  than  the  commencement  of  the  preceding  draft. 

Fig.  152  illustrates  such  a  drawing-in  draft  for  8-harness,  4  threads  for  the  short  straight 
draw ;  skipping  one  thread. 

spppppppppppppppppppbppbppbppbppppppppppppppppppppppbppbppbppbppp 
ppppppppppppppr.BPPBPPBPPBPPPPPPPPPPPPppppp; ::  :i ::  1  ■    ■  ;  ■ 
pppppppppppbppbppbppbppppppppppppppppppppppbppbppbppbpppppppp: 
ppppnnPBPPBPPBPPBPPPPPpnnnprjppjrappppppBPPBPPBPPBPPPPPPPPPPPPPPP 
pppBPPBPPBPPBPPPPPPPPPPPPPPPPP";:;npr:B:  ipbppbi  ::  ■  :: ::  ip:  :: ::  :□:  . 
Bpbppbppbpppppppppppp!  ipp!  •;  u  ipppi  :bi  ::  :■: ::  ■     ■  ■ 

PBPPBPPPPPPPPPPPPPPPPPPPPPPBPPBPPBPPBi  IPPP  PPPPPBP:  ■'  I 

lBPPPPPPPPPPPPPPPPPPPPPPBPPBPPBPPBPPPPPPPPPPPPPPPPPPPPPPBPPBPPBnn 

Fig.  152. 

E. — Mixed  or  Cross  Draws. 

As  the  variety  of  different  weaves  is  unbounded,  so  are  also  the  drawing-in  drafts,  and  under 
the  above  heading  it  is  proper  to  classify  the  kind  of  drafts  obtained  in  one  way  or  another,  by 
combining  two  or  more  drafts  of  the  previously  explained  systems. 

Other  Points  a  Drawing-in  Draft  may  require  in  addition  to  the  indications  for  Drafting 

a  Certain  Harness. 


o3 

P  s 


If  a  warp  contains  threads  of  different  thickness,  color,  or  quality  of  stock,  the  drawing-in 
draft  must  have  a  copy  of  the  repeat  of  pattern,  clearly  indicating  for  each  warp-thread  such 
c     particulars  (see  Fig.  153  for  illustration.) 

The  drawing-in  draft  should  further  show  the  number  of  warp,  the 
number  of  dresser,  the  number  of  ends  in  warp,  the  number  and  width  of 
reed  to  use,  the  number  of  warp-threads  to  be  put  in  one  dent,  instruc- 
tions if  any  threads  in  particular  have  to  be  separated  by  the  dents  (see 
Fig.  1 54),  and  the  number  of  heddles  to  be  put  on  each  harness. 

Every  one  of  these  points  clearly  indicated  on  the  draft  will  greatly 
Fig.  153.  assist  in  the  production  of  correct  work,  prevent  mistakes  and  save  much 

time.  We  append  a  specimen  sheet  of  a  complete  order  for  the  drawing-in  department,  such  as 
ought  to  be  used  in  every  mill. 


8PPPPPPBPPPPPPPBP 
PPPPPPPBPPPPPPPB 
PPBPPPPPBPPPPPPP 
PPPBPPPPPBPPPPPP 
PPPPBPPPPPPPPBPP 
PPPPPBPPPPPPBPPP 
PBPPPPPPPPPBPPPP 

1BPPPPPPPPPBPPPPP 


Specimen  of  a  Complete  Drawing-in  Sheet. 

Fancy  Cassimere,  style  4.2. 
Warp  No.  393.    3600  ends  in  warp.    Reed  13  x  4  =  ^9%  incnes  width  of  warp,  in  reed. 


D.  N.  4. 


Dressing  :    6  threads  black    4  run. 


white 
black  " 
lavender  " 
brown  " 
blue 


24  threads  in  pattern. 

Selvage :  40  threads  1  inch  wide  in  reed  for 
each  side. 


Black.  £  Brown. 
•i 


Brown.  Blue. 


Fig.  154, 


36 


Heddles  required  for  the  different  harness  : 

Numbers  I,  3,  4,  9,  1 1,  each  300  heddles  =  1500 
Number   2,  requires  750      "       =  750 

5,       "  600      "      =  600 

Numbers  6,7,8,  10,  12,  each  150      "      =  750 


3600 

Having  explained  the  general  principles  of  drawing-in  drafts  for  theoretical  and  practical 
work,  also  their  classification,  the  next  subject  for  the  student  to  learn  will  be  "  the  drafting  c« 
drawing-in  drafts  "  from  the  different  weaves. 

Drafting  of  Drawing-in  Drafts  from  Weaves, 

Rule  :  Ascertain  the  "  repeat "  of  the  weave  in  the  direction  of  both  systems  of  threads. 
Next,  examine  each  warp-thread  separately  (on  the  design)  as  to  its  rotation  of  interlacing  in  the 
filling.  If  each  warp-thread  shows  different  places  (different  picks)  for  interlacing,  each  thread 
requires  a  different  harness.  If  there  are  warp-threads  in  the  repeat  of  the  weave  which 
have  throughout  the  entire  number  of  picks  the  same  intersecting  places,  they  can  be 
drawn  on  one  harness.  For  example,  examine  the  two  warp-threads  illustrated  in  Fig. 
155  ;  both  are  working  the  same  way  ( 1 1  2 2  1  x )  in  its  repeat  of  8-picks,  consequently 
Fig.  155.     these  two  threads  can  be  drawn  on  one  harness,  giving  the  same  result. 


8MB 

no 
mm 
mm 

nn 
nn 

ma 

mn 
1 2 


In  Fig  156  we  illustrate  3  warp-threads  over  16-picks.  An  examination  of  the 
same  will  show  warp-threads  marked  I  and  3  interlacing  correspondingly  with  the 
filling,  and  hence  can  be  drawn  on  the  same  harness  ;  whereas  thread  marked  2  works 
differently,  therefore  requiring  a  different  harness. 


i6nnn 
nni 
nan 

nm 

■  □■ 

m  :m 

nun 
mm 

■  :■ 

nan 

WTM 

unu 

nun 
mm 

inan 

1 2  3 

Fig.  156. 


Weave. 

uBBnHnan*BnnnBBMnnnHnnnBn*nnn 


nniniGMnmnniMinnnMnnnMniiLnn 
nniiinnnminnn 


uannnuB 
Minnnn 

■■■□□□Mii^nninininnn 

DHKHXiH.     fl    B    I.      Ill      '  .II1..JII.  l^.lll 

nniiinnniiinimiiniiinnniiinniiinHniMM 

nnniiKnoiMJiniaMinnoiiionniMniniM 
*nnniiin:_iniinininiinnn*Mnnninnni^innn 
■MnnniiinnninimninnniiinnniHnnninMnnn 
■■■□nnni'jnniiniinnniiinnnBiMnnnininnn 
niiinnniiinninininniiHnnnMiinBiMniniiB 
nnMiinnniMininininiiHnnniiii:niMnMnMM 
innnBMBnnniBBn«nMniMinnnHBHnnnB*MnBnMBB 

1  38 
Drawing-in  Draft. 

lannnnnannnnnnnnnnnnnnnannnnnMnnnMnMnnn 
2nijznnnmnnnnnnnnnnnninnnnninnnnnnnnnn 
3nniunn3™innniniininnninnnnniannnnnnnnnn 
4nnnBnnnnnBnnnnnnnnnBnnnnnHnnn«BMnBnBHM 

5jnnnBr3nnnnMnnnnnnnBpnnnnBnnnnnnnnnnnnn 
6^nnnninnnnninnnnninnnnnMnnnnnnnnnGnnnn 

rnnnnnnnnnnnnnanHnnnnnnnnnnnnnannnnnnnn 

8nnnnnnnnnnnnnnmnnnnnnnnnnnnnnnnnnnnnn 

1  38 

Fig.  157. 


With  Fig.  157  we  illustrate  a  complete  weave 
vone  repeat)  with  its  corresponding  drawing-in 
draft : 

38  warp-threads  | 


12  picks 


in  repeat. 


An  examination  of  each  warp-thread  in  particular  will  result  as  follows  : 
Warp-threads  I,  7,  23,  29,  33,  35  correspond,  thus  harness  I 

2,  8,  22,  28                                               "            «         "  2 

3,9,13,17,21,27                                     "            "         "  3 

4,10,20,26,30,31,32,34,36,37,38        "            "         "  4 

5,11,19,25                                              «            "         '<  5 

6,  12,  18,  24                                        "         ■  «  6 


14,  16 


"Warp-thread    15  working  independent,  requires  a  separate  harness; 


7 


37 


Hence,  we  find  drawing-in  draft  illustrated  below  weaves  reading  as  follows: 


The  ist  warp-thread  for  harness 

I , 

Thr>  ?nf"li 

X  Hv.     —  ^'  I  I  I 

rn-1~h rpi rl  fr»t*  V10  rrifcc  /« 

The  2d 

t  • 

2. 

Til  (=»  9  T  <?f" 

3* 

The  3d 

<» 

U 

j- 

The  2 2d 

u  tt 

Z . 

The  4th 

14 

(( 

A 

The  23d 

U  a 

1 . 

The  5  th 

<( 

14 

c  • 

J  • 

The  24th 

6. 

The  6th 

U 

(t 

6. 

The  25th 

5- 

The  7th 

it 

u 

1 . 

The  26th 

» 

The  8th 

u 

u 

2, 

The  27th 

The  9th 

(( 

<( 

The  28th 

»4                                     «  _ 

The  ioth 

a 

u 

A 

The  20th 

■                                  "  T 
1  . 

The  nth 

it 

ft 

j  • 

The  30th 

The  1 2th 

<< 

it 

6. 

The  "2  T  <;t 

The  13th 

U 

a 

3. 

The  3 2d 

The  14th 

a 

it 

7- 

The  33d 

1. 

The  15  th 

it 

tt 

8. 

The  34th 

4. 

The  1 6th 

it 

ft 

7- 

The  35  th 

1. 

The  i/th 

u 

3- 

The  36th 

4. 

The  1 8th 

it 

u 

6, 

The  37th 

4. 

The  19th 

(6 

5. 

The  38th 

4- 

Some  weaves  will  be  found  inexpedient  to  reduce  to  the  lowest  number  of  harnesses,  as  a 
drawing-in  draft  too  irregularly  distributed  will  be  difficult  to  comprehend  by  the  operative  who 
uses  the  same  for  practical  work. 

After  making  out  a  fancy  drawing-in  draft  for  a  weave,  the  design  for  the  "harness-chain" 
must  be  prepared. 

Rule  for  Designing  the  Same: — Reproduce  each  warp-thread  only  the  first  time  called  for 
by  its  drawing-in  draft  on  a  different  harness.  For  example:  Produce  harness-chain  for  weave 
and  drawing-in  draft  Fig.  157. 

Answer  : 


The  ist  harness  must  raise  and  lower  as  follows  (reading  downwards):  - 
The  2d 
The  3d 
The  4th 
The  5  th 
The  6th 
The  7th 
The  8th 


3  3 

__3  3_ 

1  3  2 
3  3 

2  3  1 
3  3 


3  3 
1  3 


2  2 
2  2 


finding  in  this  manner  harness-chain  illustrated  by  Fig.  158. 


■■■nnnna 

:        :: ::  ;■ 

: :bmh:.: 

■  □□CMMBZI 
□■■■□□CM 

Wnrnmrnw. : 

Fig.  158. 


38 


RULES  FOR  ESTIMATING  THE  NUMBER  OF  HEDDLES  REQUIRED  ON 

EACH  HARNESS. 

Straight  Draws. 

Rule  :  Divide  the  number  of  threads  the  warp  contains  by  the  number  of  harness  in  the  set  used. 
Example:  4800  ends  in  warp — 8-harness  straight  draw.     How  many  heddles  are  required 
for  each  harness  ? 

Answer:  4800-^  8  =  600;  600  heddles  are  required  for  each  harness. 

If  ends  remain  over  the  full  repeat  they  are  to  be  added,  beginning  with  harness  one  until 
all  are  taken  up.     These  harnesses  will  consequently  require  one  more  heddle. 

Example:  4800  ends  in  warp — 9-harness  straight  draw.  How  many  heddles  are  required 
for  each  harness  ? 

Answer:  4800     9  =  533  full  straight  draws  plus  3  threads. 

Thus,  harness  1,  2,  and  3  must  contain  534  heddles  (1602) 

"      4,  5,  6,  7,  8  and  9    "         "      533      "  (3198) 


4800 


Fancy  Drawing-in  Drafts. 

Rule:  Multiply  the  number  of  threads  for  each  harness  by  the  number  of  pattern  repeats 
in  the  entire  warp. 

Example: — 3200  ends  in  warp  on  the  following  drawing-in  draft: 
32  threads  in  one  pattern. 

3200  -5-  32  =  100  repeats  of  pattern  in  warp. 


□nnnxi*nnnnnnnnnnnnLinnnnnnnnnnBBUi2  Harness -3 1 

nnnaBnnnnnnnanBBnnnnnnnnnnnnngnnu  "  -3  1 

nnn*nnnnnnnnnnnnnnnnnnnnMnnnnnnnio  "  -2 

nnpnnnnHnnnnnnnnnnnnHnnnnnnnnnnn  9  "  -2 

^nnnnnSnnnnnnn*nnnnnnnBnnn*nnnnnn  8  "  -3 

— inannnnnMnnnnnnnnnnnnnnnnnnn  7  -2 

:  nnnnnnnnnnnMMnnnnnnnnMonnnn  -4 


inn 


BE 


UUl 


inRnt 


nnnnnnnnnnnBnnnnnnnnnnnMnDnnnnnn  5 


^□□■nnnnnnnnnnnBnannMnnnn  4 

annnnnnnnnnnnnnnnnnnnnnnnn  3 
3BnBnnnnnnnn*MnnnnnnnnMnnn  2 
im*nnnnrx:nnnnnnnnnnnnnnnn*  1 

32 


—3 
—1 


1j 


Fig.  159. 


No.  of  Harness. 
I 
2 

3 
4 

5 
6 

7 
8 

9 
10 

1 1 

12 


Threads  per  Pattern. 

3 
4 
1 

3 
2 

4 

2 

3 
2 
2 
3 
3 


X  100  Repeats. 


si 


a  o 
II 

3  » 


=  Heddles. 
300 
400 
IOO 
300 
200 
400 
200 
300 
200 
200 
300 
3OO 


32  32OO 

The  repeat  of  the  pattern  will  not  always  divide  into  the  number  of  the  ends  in  the  warp. 
Sometimes  it  will  leave  a  fraction  over,  which  we  have  to  add  separately.  For  example,  taking 
the  drawing-in  draft  as  before,  and  supposing  the  number  of  ends  for  the  warp  to  be  3206.  This 
will  give  us  the  100  repeats  of  pattern  as  before,  plus  6  ends.  Numbers  1,  3,  6,  10.  11  and  12- 
harness  call  for  the  first  6  warp-ends  in  the  pattern,  hence: 


3D 


Number  i  harness  will  call  for  301  heddles. 
3       "         "  "  101 

6       "        "  "  401 

10      "        "  "   201  " 

•'11       "        "  "  301 

ii       I2         a  «  it 

Harness  2,  4,  5,  7,  8  and  9  will  remain  the  same  as  before. 

THE  REED. 

The  reed  consists  of  two  horizontal  strips  of  wood,  between  which  a  series  of  narrow  strips 
of  metal  (flat  steel  wire)  are  bound  in. 

After  a  warp  is  "  drawn  in  its  harness,"  it  has  to  be  "  reeded ;"  one,  two,  three  or  more  ends 
together  are  drawn  in  one  dent  orsplit  of  the  reed.  The  purpose  of  the  reed  is,  First:  To  guide  the 
warp-threads  after  leaving  the  harness,  holding  the  same  during  the  entire  width  and  length  of 
the  fabric  evenly  divided.  Second :  To  strike  the  filling  in  evenly  divided  places  all  over  the 
width  of  the  fabric  in  beating  up. 

The  height  of  a  reed  (distance  between  both  horizontal  strips)  varies  according  to  the  fabric  it 
is  used  for. 

Silk  fabrics  requiring        to  3  inches  height. 
Cotton  fabrics    "        2]/2  to  3^  "  " 
Woolen  fabrics  "        4     to  " 
Carpets  "       4^  to  5 

It  is  advisable  to  have  the  height  of  a  reed  to  }i  inch  higher  than  the  highest  lift  of  any 
thread  in  the  fabric.  It  will  never  do  to  have  this  height  lower  than  any  thread  of  the  upper 
shed  lifts,  as  this  would  chafe  the  warp.  The  reed  has  to  be  movable  the  least  bit  in  the  width  of 
the  lay,  but  is  required  to  be  steady  towards  front  and  back  in  almost  every  kind  of  fabric ;  except 
in  the  manufacture  of  turkish  towelings,  or  similar  textile  fabrics,  in  which  the  reed  is  required  to 
give  way  in  a  backward  direction  regulated  by  springs. 

To  get  perfect  work  the  reeds  must  be  evenly  set,  the  wires  must  stand  parallel  with  the 
warp  and  the  wire  must  be  neither  too  thick,  nor  too  thin,  too  wide  or  too  narrow  for  the  work. 
The  "riding"  of  threads  can  often  be  helped  by  different  number  of  threads  per  dent,  or  by 
taking  different  parts  of  the  pattern  in  the  same  dent. 

REED  CALCULATIONS. 

The  reed  is  named  by  numbers,  the  number  in  each  case  indicating  how  many  splits  are  in 
each  inch.  Thus  a  number  8  reed  means  a  reed  with  8  splits  in  every  inch  over  the  required 
width.  If  we  call  for  number  \6]/2  reed,  we  want  a  reed  having  i6}4  splits  in  one  inch,  equal  to 
33  dents  in  every  2  inches  over  the  entire  width  of  the  fabric.  Whole  numbers  or  half  numbers 
alone  are  used  for  grading  of  reeds. 

Example:  Suppose  we  have  a  number  9  reed, 4  threads  in  one  split  or  dent,  how  many  ends 
are  in  one  inch  ?    How  many  are  in  a  full  warp  if  70  inches  wide  in  reed? 

Answer:  9  x  4  =  36  ends  of  warp  in  one  inch. 

X  70  width  of  warp  in  reed 
2520  ends  in  warp. 

Hence,  we  find  as  a  rule  for  ascertaining  the  number  of  ends  in  the  warp,  if  the  reed  num- 
ber,, the  threads  per  dent  and  the  width  of  the  warp  in  reed  are  known,  the  following: 

Multiply  the  reed  number  by  the  threads  per  dent,  and  multiply  the  result  by  the  width  of 
the  warp  in  reed. 

Example:  How  many  ends  are  in  the  warp  if  using  13^  reed,  6  threads  per  dent,  80  inches 
wide  in  reed  ? 


40 


Answer :  13^  X  6  =  81  X  80  =  6480  ends  in  warp. 

The  next  process  will  be  to  ascertain  the  reed  number,  if  the  number  of  ends  in  the  warp 
and  the  width  in  the  reed  are  known,  the  threads  per  dent  either  given  or  to  be  selected  accord- 
ing to  the  fabric. 

Rule  :  Divide  the  number  of  ends  in  the  warp  by  the  width  in  the  reed,  which  gives  the 
number  of  threads  per  inch. 

Divide  this  result  again  by  the  number  of  threads  in  one  dent  according  to  the  weave  or 
pattern  required. 

Example  :  6480  ends  in  warp,  80  inches  wide  in  reed. 

1st.  How  many  ends  per  inch? 

2d.  What  reed  number  required  if  6  ends  per  dent  are  to  be  used  ? 

Answer:  6480^-80  =  81  ends  per  inch. 

81-5-6  =  13^,  number  of  reed  required. 

It  will  be  easily  understood,  how  to  find  the  width  of  the  warp  in  the  reed.  Supposing  the 
reed  number,  the  threads  per  dent,  and  the  number  of  threads  in  the  warp  are  known  : 

Rule  :  Divide  the  number  of  ends  in  the  warp  by  the  number  of  ends  per  inch,  giving  as 
the  result  the  number  of  inches  the  warp  will  be  in  the  reed. 

Example:  Reed  12  X  3=3600  ends  in  warp.    What  width  will  this  fabric  have  in  the  reed? 

Answer :  12  X  3  =  36  ends  per  inch. 

3600-^36  =  100  inches  width  of  fabric  in  reed. 

The  number  of  ends  to  put  in  one  dent  has  to  be  regulated  according  to  the  fabric  and  the 
weave.  Experience  is  the  only  guide  for  this.  The  coarser  the  reed,  to  a  certain  extent,  the 
easier  the  picks  go  into  the  fabric.  The  finer  the  reed,  the  smoother  the  goods,  and  with  perfect 
reeds  the  less  reed  marks. 

The  same  number  of  ends  are  not  always  used  in  each  dent,  but  the  preceding  rules  may  be 
used  for  finding  the  average  number  of  threads  per  dent. 

Example  :  What  are  the  threads  per  inch  ? 

Reed  number  20 

using  1  dent,  4  ends 
I    "     5  " 

Answer :  4  +  5=  9  9-5-2=4^  threads,  average  per  dent,  X  20  number  of  reed  =  9c 
threads  per  inch. 

Example  :  What  are  the  threads  per  inch  ? 
Reed  number  18 

using  1  dent,  3  ends 
I    "     4  " 
1    "    3  " 
1    "     6  « 

Answer :  3  +  4+  3  +  6=  16  threads  in  four  dents. 

16     4=4  threads,  average  per  dent,  X  18  number  of  reed=72  threads  per  inch. 
Sometimes  it  happens  that  the  average  number  of  threads  includes  an  inconvenient  fraction. 
To  avoid  a  calculation  with  this  fraction,  multiply  the  sum  of  the  contents  of  the  dents  by  the 
dents  per  inch,  and  then  divide  by  the  dents  per  set. 

Example:  What  are  the  threads  per  inch,  warp  reeded  as  follows  in  number  12  reed: 
I  dent,  5  threads. 
I    "  3 

1    "    3  • 
3  +  3  +  5  =  11  x  12=  132. 
132      3  =  44  threads  per  inch. 


Derivative  Weaves. 


FROM  THE  PLAIN  OR  COTTON  WEAVE. 


I.    Common  Rib-Weaves. 

This  sub-division  of  the  "plain"  or  "cotton"  weave  is  classified  into  two  distinct  divisions, 
namely,  weaves  forming  the  face  of  the  fabric  by  the  warp  (warp  effects),  and  weaves  forming  the 
face  of  the  fabric  by  the  filling  (filling  effects). 

Warp  Effects. 

The  principle  observed  in  constructing  these  weaves  is  to  allow  more  than  one  pick  to  follow 

in  succession  into  the  same  shed  of  a  regular 
plain  weave.  This  will  require  a  high  tex- 
ture for  the  warp  in  fabrics 
which  are  interlaced  with  them. 
The  first  common  rib-weave  to 
be  formed  is  the  change  in  2, 
as  represented  in  Fig.  160,  re- 
quiring for  its  repeat  2  warp-threads  and  4 
picks. 

Picks  1  and  2  are  interwoven  in  the 
first  shed  of  the  plain  weave ;  picks  3  and  4 
are  interwoven  in  the  other.  Fig.  161  shows 
a  clearly  drawn  out  diagram  of  this  weave 
and  the  corresponding  interlacing  of  warp 
and  filling  in  a  fabric. 

Fig.  162  illustrates  the  section  cut  of 
the  woven  fabric. 


B  S  ■  * 
■    ■    ■  ■ 

■  ■    ■    ■  1 

■  ■    ■    ■  ] 


Fig.  160. 


Fig.  162. 


■  B    ■  ■ 

■  ■    ■  ■ 

■  ■  ■  B 
B    B    B  B 

CL  ■    ■    ■  ■ 

■  ■    ■  ■ 


■  ■    ■    ■  ~ 

■  ■  ;■  ■ 

Fig.  163. 


■  a  •■-■-]■ 
rm  mm  u 

m  a  mm 
rm  m  m  a 

■  ■  ■  ■ 
a  a  a  a 

■  ■  ■  ■ 

-  ■  ■  ■  ■ 
(  ■  a  ■  ■ 
a  a  a  a 
ansa 

■  a  a  a 

■  a  a  a 
a  a  a  a 
'a  a  a  bjj 

1 2 

Fig.  164. 


Fig.  163  illustrates  the  common  rib-weave  as  obtained  by  a  change  of  3  in  the  filling,  thus 
requiring  for  its  repeat  2  warp-threads  and  6  picks. 

Fig.  164  illustrates  the  change  of  4  picks  in  a  shed  for  constructing  the  next  common 
rib-weave,  requiring  for  its  repeat  2  warp-threads  and  8  picks. 

Weaves  Figs.  160,  163  and  164  require  for  their  repeat  warpways,  2  threads,  and  therefore  2 
harness,  which  number,  in  practical  work  on  the  loom,  will  by  reason  of  the  high  texture  of  warp 
generally  used  be  increased  to  4,  6,  8  or  12  harness,  with  a  corresponding  repetition  2,  3,  4  or  6 
times  of  the  design,  for  the  warp-threads. 

(41) 


42 


Filling  Effects. 

In  these  weaves  every  pick  intersects  alternately  over 
and  below  two  or  three  or  more  warp-threads;  therefore 
being  in  its  principle  nothing  more  than  the  common 
"plain"  weave,  with  two,  three  or  more  threads  used  in- 
stead of  one  in  the  plain  weave.  In  their  general  appear- 
ance these  weaves  are  the  same  as  the  warp  effects  of  the 
same  class  of  weaves  previously  explained  except  that  the 
warp  exchanges  with  the  filling.  As  fabrics  constructed 
with  these  weaves  have  the  filling  for  face,  a  correspond- 
ingly high  texture  of  the  latter  is  required.  The  "  ribs,"  as 
produced  by  these  weaves,  are  formed  in  vertical  direction, 
—  ^  or  in  the  direction  of  the  warp-threads  in  the  fabric,  while 
in  the  former  division,  classified  as  warp  effects,  this  direc- 
tion is  opposite — that  is,  in  the  direction  of  the  filling. 


□□i 

■  B 

rn 
■■ 

□□I 


i  i 
■■ 


Fig.  165. 


BBB  BBB 

:  : 
■■■ 

□□□ 

■  OB 

□□□ 
BOB 


□  I  I  I 

■  BE 
□□□I 

■  ■■ 

"  I 


Fig. 


ICDL 


167. 


■■■■  ■■■■ 

r  -     ■■■■    t  -  ■■■■ 

■■■■□□□□■■■■□□□a 

■  ■■■       :!  ■■■■ 


BOH  I 


Fig.  166. 


Fig.  168. 


Fig.  165  illustrates  the  change  for  two  warp-threads  in  succession,  interlacing  with  one  pick. 

Fig.  166  shows  a  diagram  illustrating  the  4-harness  rib-weave  and  the  corresponding  inter- 
lacing of  warp  and  filling  in  a  fabric. 

Fig.  167  illustrates  the  change  for  three  warp-threads. 

Fig.  168  illustrates  the  change  for  four  warp-threads. 

Weave  Fig.  165  has  for  its  repeat  4  warp-threads  and  2  picks. 

Weave  Fig.  167  has  for  its  repeat  6  warp-threads  and  2  picks. 

Weave  Fig.  168  has  for  its  repeat  8  warp-threads  and  2  picks. 
But  each  weave  can  be  made,  if  required,  on  2-harness  by  drawing  warp-threads  interlacing  the 
same  in  the  filling  on  1 -harness. 

II.    Common  Basket-Weaves. 

These  are  a  combination  of  the  common  rib-weaves,  warp  and  filling  effect,  having  the  same 
changes.    Therefore,  the  principle  of  their  construction  will  readily  be  found  in  the  enlargement, 
warp  and  filling-ways,  of  the  common  plain  weave.     The  first  or  most  simple 
basket-weave  to  be  found  is  produced  by  the  exchanging  of  two  successive  warp- 
threads  with  two  successive  filling-threads,  alternately  up  and  down ;  or  an  equal 
combination  of  rib-weaves,  Figs.  160  and  165. 

Fig.  169  illustrates  this  basket-weave,  requiring  for  the  repeat  four  warp- 
threads  and  four  picks. 

Warp-threads  1  and  2  are  the  first  mate-threads. 

Warp-threads  3  and  4,  the  second. 

Picks  1  and  2  are  the  first  mate -picks. 

Picks  3  and  4,  the  others. 


□□■■!  BB 


Fig.  169. 


43 


/.  Z.  3.  V  5.  6.  7.  8. 

Fig.  170. 

threads  working  the  same,  and  also  illus- 
trates a  combination  of  weaves,  Figs.  164 
and  168. 

III. — Fancy  Rib-Weaves. 

Warp  Effects. 

The  first  step  towards  designing  fancy 
rib-weaves  is  the  combination  of  the  regu- 
lar " plain"  weave  with  its  sub- 
division the  common  rib-weave. 

Fig.  174  is  designed  to  il- 
lustrate the  combination  of  one 
pick  "plain"  to  alternate  with 
two  picks  of  the  common  rib- 
weave  ;  or  in  other  words,  to  put  one  pick 
in  one  shed,  and  two  picks  in  the  other  shed 
of  a  regular  plain  weave. 

Fig  175  illustrates  the  diagram  of  this 
weave  with  a  corresponding  illustration  of 
the  interlacing  of  warp  and  filling  in  a 
fabric. 

Fig.  176  illustrates  the  section  cut  of 
the  woven  fabric.    In  its  appearance  in  the 


■  ■    ■  B 

zm  mum 

B   B    B.  B 

■  ■  :■  ■ 
zm  m  m  m 

■  ■  ■  ■ 

:    ■  ■  ■  ■ 

■  ■  *  a 

■  ■  ■  ■  . 
1 2 

Fig.  174. 


Fig.  170  shows  a  diagram  illustrating 
the  4-harness  basket-weave,  and  the  cor- 
responding interlacing  of  warp  and  filling 
in  a  fabric.  Fig.  171  illustrates  the  section 
cut  of  the  woven  fabric. 

Fig.  172  illustrates  the  common  6-har- 


r  — ■■■  ■■■ 

■■■  ■■■ 
■■■  :  ■■■ 
mmm  '  ■■■ 
■■■  ■■■ 
■■■ 

BL.I    !,     ■■■      '  ■■■ 


BBBB  ■■■■ 

ammo  ■■■■ 

■■■■  ■■■■ 

1  "  ■■■■ 


■■■■  ■■■a 
■■■■  ■■■■ 
■■■■  ■■■■ 

■■■■  ■■■■ 

BBBB  Bit  (19 

BUBB  BBBB 
■■■■  ■■■■ 

■■■■  ■■■■ 

BBBB  BBBB 

BBBB  BBBB 


Fig.  172. 


Fig.  173. 


ness  basket-weave,  having  three  successive 
warp  and  filling-threads  working  the  same, 
and  forming  also  a  combination  of  weaves, 
Figs.  163  and  167. 

Fig  173  represents  the  common  8-har- 
ness  basket-weave,  with  four  successive  warp- 


1 

J 

1 

1 

1 

I 

f 

1 

1 

1 

i 

1 

w 

?, 

I  z.z.H.s.  6.7.8. 


Fig.  176. 


/  2.  3.  V.  5.  6.  Z  S. 

Fig.  175- 


44 


1 


1= 


my//MVAW 
WM'fZmVZ 


|3 


Fig.  178. 

or  two  changes  of  the  plain  weave  and 


woven  fabric  this  weave,  as  well  as  the  following 
similarly  constructed  weaves,  will  produce  the  fancy 
effect  by  alternately  exchanging  heavy  and  fine  rib  lines. 

Fig.  177  illustrates  the  change  as  to  the  size  of 
the  rib  produced  by  one  pick  in  one  rib  to  alternate 
with  three  picks  in  the  other  rib.  Repeat  of  weave:  2 
warp-threads,  and  4  picks. 


□■□■□■□■ 
.  ft  ft  ft  ft 

□■□■□■  ■ 

■  ft  ■  ■ 

■  ■  ■  a 

■  •  ■  n 

■  ■  ■  ft 

■  ■  ■  ■  ] 

■  ■  ft  ■ 

H    ft    ft  ft 

,□■□■□■[  ft 

Fig.  177. 


Fig.  178  illustrates  the  diagram  of  the  weave,  with 
a  corresponding  illustration  of  the  interlacing  of  warp 
and  filling  in  a  fabric. 

Fig.  179  illustrates  the  section  cut  of  the  woven 
fabric. 

Fig.  180  illustrates  a  fancy  rib-weave  having  two 
picks  in  one  shed,  to  alternate  with  three  picks  in 
the  other  shed.  Repeat  of  weave:  2  warp-threads  and 
5  picks. 

Fig.  181  illustrates   a  fancy  rib-weave   as  prc- 
duced  by  a  change  of  the  shed  of  1,  1  and  3  picks 
one  change  of  three  picks  in  the  same  shed. 


■  ■  a  ■ 
[  ft  ft  ft  ft 
i~m  ■  ■  ■ 

■  ■  ■  ■  1 

■  ■  ■  ■  1 

■  ■  ■  ■ 

■  ■  ■  ■ 
[  ■  "  ■  ■  ■ 

ft   ft   ft   ft  : 

■  ft.  .ft  ft  J 

1  2 

Fig.  180. 


i"  ■  ■  ■  ■ 

:  ■  ■  ■  ■ 

■  ■'  ■  ■ 
■  ■  ■  i 

■  ■  ■  ■ 


□1 


□■□■□■□ 
■□■□■□■ 


I    ft  ft 

Fig.  181. 


12DBDBDB  ft 
□■□■:7  ft  ft 
■  ■  ■  ■ 
■  ■□■□■□ 
■□■□■□■□ 
[  ft  ■  ■  ■ 

ft    ft    ft    ft  : 

ft    ft    ft    ft  1 

□■□■□■□■ 
□■□■□■□■ 
!■□■□■_■  1 


Fig.  182. 


Fig.  182  illustrates  the  combination  of  three  different  ribs,  (as  to  its  size)  or  the  changes  for 
picks  in  one  shed,  as  1,  2,  3.    Repeat  of  weave:  2  warp-threads  and  12  picks. 

Filling  Effects. 

In  fabrics  produced  with  these  weaves,  the  rib-lines  run  in  the  direction  of  the  warp-threads 
in  the  fabric.  The  face  and  back  of  the  fabric  will  be  produced  with  the  filling,  the  warp  forming 
the  centre. 


45 


Fig.  183  illustrates  the  combination  of  one  warp-thread  in  one  filling  change,  to  alternate  with 
one  filling  change  containing  two  warp-threads. 

Fig.  184  illustrates  the  warp  change  of  1  and  3  in  a  fancy  rib-weave.  Repeat  of  weave: 
4  warp-threads  and  2  picks. 

■■■■■■  **m  asa  ma*  ana     bhb  s     a  bb 

■    ■    ■  ■     ■  ■■      ■■  ■  bb  ■  ■    ■■■  ■■ 

I  ■■  ■■  ■■  [  ■■■  ■■■  ■■■                                                            ■     ■  ■■  ma       m  mmm 

m    m    m:o  :  ■      m     i  11  mcmu  m    1  ■    ■■■  ■■  1  1 

mm  mm  mm  r  bbb  bbb  bbb  [  ;  ■■■  \  mmm  :  ■    ■  ■■  \  mm      m  mmm 

a    ■    ■  ,i  e               en  mzmm  m    1  ■    ■■■  ■■  . 

-[  ■■  ■■  ■■  '-:  ■■■  BBB  BBB  !  ■■■   .  ■■■  2:irziGII  21  ■■        ■  ■■■ 

in.  J koch  ifooamjoomocn  ifaoSfHCLX]  ib.  mm.  a  j  11:  .Liiiuiaj j 

Fig.  183.  Fig.  184.  Fig.  185.  Fig.  1S6.  Fig.  187. 

Fig.  185,  with  a  change  of  2  and  3  in  its  construction,  requires  for  its  repeat  5  warp-threads 
and  2  picks. 

Fig.  186,  with  a  change  of  1,  1,2,  requires  for  the  repeat  of  the  weave  8  warp-threads  and 
2  picks. 

Fig.  187,  constructed  by  means  of  change  1,  2,  3,  requires  for  the  repeat  of  the  weave  12 
warp-threads  and  2  picks. 

IV.    Fancy  Basket-Weaves. 

These  weaves  are  obtained  by  combining  common  basket-effects  of  different  sizes  in  one 
design.  They  also  have  their  principle  of  construction  in  the  combination  of  corresponding  warp 
and  filling  effects  ot  the  fancy  rib-weaves. 
□bb^bb  Fig.  188  illustrates  the  fancy  basket-weave  produced  with  an  alternate 

nBBir^BB  L.:1H  ■■■ 

"■bVb     change  of  one  and  two  threads,  warp  and  filling  ways.    Repeat:  3  warp-      555  5!! 

□BBUBB  °  •"-  "'--U 

threads,  3  picks. 

Fig.  188.  Yig.  189  is  produced  by  the  alternate  changes  of  one  and  three  tc 

threads,  warp  and  filling  ways.    Repeat :  4  warp-threads,  4  picks.  FlG'  l89* 

Fig.  190  illustrates  a  fancy  basket-weave  of  a 

»»   5£H      construction  twice  as  heavy  as  the  weave  illus-  □■□□□■□■■■□■□□□bdbm 

HiM«,B"      trated  in  Fig.  188,  or  the  alternate  changes  of  two  ■."■m'V-^'VsbbV"" 

£555   555"      and  four,  warp  and  filling  ways.    Repeat :  6  warp-  ^^^mm^mmma^" 

ZmmZ      5S55  •    1  ■    1KB   ■         K    Hll  ■ 

mm i       thread^;  6  nirk>  1  E      H         b      b  bbb 

mm  .. ;  bb_;_;.  .      .    ,  1   o      b  mmm  m      m  mmm 

Fig.  191  illustrates  a  fancy  basket- weave  pro- 

riG.  190.  .  .  .  ,  r  1  rtr  BGBBEI  B  1    B  ■■■ 

duced  with  a  change  of  3,  1,  1,  for  warp  and  filling-  SSgS.BBBBBB%BBBBBSS 

—  ,         ,  .  ,  b:  bbb  b      ■  ■■■  ■  : 

Repeat:  10  warp-threads,  10  picks.  □B5n5BCBB«"BB"B"2SB 

This  weave  will  also  indicate  1  » 
an  important  point  in  the  con-  FlG*  191 ' 

□■■□□□"■^■■■■□■■^□□■^■■m       struction  of  fancy  basket-weaves 

'.-mm-  :.j  ':.a  /bbbb  rb        b    bbbb  . 

"55  i — 5  "b5bb~bbH^~j=~b==cbbbb  with  regard  to  their  repeat.  If  changes  are  required,  ana 
b.  ;r  bbbb.  mm       ■  :  bbbb  bb  .  .  1  i 

B      BBBB   II  BBBB   BB  i 

L~BBnnnnBC~BBBB  BB  ~,  -   B  ;  :bbbb 
i      BBBB   BB  II  ,   BBBB  BB 


BBB  BBB 
BBB  BBB 

I        B  □□ 


warp  and  filling  ways  are  of  an  uneven  number,  the  repeat 

BBSB!!bBB5B33S3PH  f°r  warp  and  filling  threads  will  be  double  the  number  of 

rHgbbbb;  bb     '  a    bbbb  bb  .  r:i  ,  ^  , 

nKBBBBB^HBKRB™^^  threads  called  for  in  those  changes.      For  example  take 

B      BBBB    BB  B      BBBB    BB  '  ■      .  '  . 

l4BKBBHB:nH:55:  jBBBBBEjBBB  the  present  weave.  Changes  for  warp  and  filling  are  3,  1,  1. 
hbbot :  'a  -  '  bbbb  bb  .      a    bbbb  ,  0  A  „  , 

af  "maS^ii"™^  Thus,  as  three  is  an  uneven  number,  we  find  3  4.  I  +  I  = 

B      BBBB    BB  B      BBBB    BB  _  .    ,  r 

bb"bbbbbbb"""bbbbbbbbbb"""       5  X  2  —  10  threads  of  warp  and  10  picks  necessary  for  one 

B      BBBB    BB  B      BBBB  BB 

5  5555  55      5  5555  55  complete  repeat. 

:BBBBBBB%BBBB%B%BBBBiiBBBj  Fig.  1 92  illustrates  a  fancy  basket-weave  having  for  its 

Fig.  192.  foundation  the  change  of   I,  2,  4  for  warp  and  filling. 

Repeat:  14  warp-threads,  14  picks. 

In  addition  to  basket-weaves  made  with  even  changes 


46 


for  warp  and  filling,  it  may  often  be  necessary  to  construct  this  division  of  weaves  in  one  system 
heavier  than  in  the  other.  The  reason  for  constructing  basket-weaves  in  this  manner  is  found 
either  in  the  difference  of  textures  of  warp  and  filling,  or  because  of  the  different  counts  of  yarn 
for  the  warp  and  filling.    Figs.  193  and  194  illustrate  two  weaves  constructed  in  this  manner. 


□□□□■■■■□□□ni 
□□□□■■■■□□□□i 


■  ■■ 

■ 
I 


Repeat 


f  6  warp- threads. 
\  4  picks. 


□□□□I 
□□□□I 
■  ■■■[ 


Repeat 


8  warp-threads. 
6  picks. 


IGGGG 
IJ._jJG 

IGGGG 


Fig.  193. 


Fig.  194. 


V.    Figured  Rib-Weaves. 

These  are  the  combination  of  common  and  fancy  rib-weaves  so  as  to  produce  a  new  weave. 
The  following  few  examples,  with  the  corresponding  explanations,  will  illustrate  methods  by 
which  each  rib-weave  (as  numerous  as  they  can  possibly  be  constructed  in  plain  and  fancy) 
can  be  varied  in  an  endless  manner.  The  first  step  towards  figuring  will  be  to  change  the 
rib-line  in  a  common  rib-weave  after  a  certain  number  of  warp-threads, 
are  designed  for  the  purpose  of  illustrating  this  method. 

Fig.  195  contains  for  its  principle  the  common  rib-weave,  Fig. 
160, 2  2-  Trie  rib  is  arranged  for  one  pick  higher  for  every  six  succes- 
sive warp-threads.  Repeat:  24  warp-threads  and  4  picks.  Thus,  as  4 
picks  form  the  repeat  for  the  common  rib,  find  the  number  of  warp- 
threads  required  for  the  full  design  as  follows:  Successive  warp-threads,  Fig.  395. 
X  number  of  changes,  =  warp-threads  required  for  full  design.    6  X  4  =  24. 

Fig.  196  contains  for  its  principle  of  construction  the  common  rib-weave,  Fig.  163,  ?  a.  The 

rib  is  again  arranged  for  two  picks  higher  for  every  six  successive  warp-threads.  Repeat:  18 
warp-threads  and  5  picks. 

Fig.  197  contains  for  its  construction  the  common  rib-weave,  Fig.  164,  4.    The  rib  is 

arranged  two  picks  higher  for  every  eight  successive  warp-threads.  Repeat:  32  warp-threads  and 
8  picks. 

Figs.  198,  199,  200  and  201  illustrate  a  second  division  of  figured  rib-weaves,  having  for 
their  foundation  fancy  rib-weave  warp  effects. 


Figs,  195,  196  and  197 


□■  ■  a  a  a  an  .■  ■  .a..  :a  ja  i 
■  ■  bhjh  a  n  ■  a  ..a  a  a 

■  ■  ■  a  a  a    ■  ■  ■  a  a  a 

■  ■□bcdh  :a  a  ■  ■  .Baaanaa 
4.  ■  ■  ■  a  a  an  ■  a  a  a  a 

.  ■  ■  a  a  a  a  a  a  a    a  a  a 

■  ■  a  a  a  a  ■  ■  .  ■  a  a  a 
iBaBDonaauaaaaBLMDBBaaaan 


■  ■  ■  *  *  >na  a  a  , 

■  ■  a*  *  *  a  a  a 

■  ■  ■*  *  *    a  a  a 

a  a  a  ■:•      *  1  a  a  a 

■  a  *  *  a  a  a 

■  ■  ■  ;*  *  *a  ia  a  1 
>  ■  ■  ■  •;-  >:<  *a  a  a  j 

.    m  _a*  ta  *  a  _a  a 
a  a  a*  *  *  ■  a  a  a 

■  ■  *  *    a  a  a 

■  a  ■..  j*  .*  „*  a  ja  ;a 

lyaHnBoafflnBaDBEjaaaHg 


Fig.  196. 


-  ■  a  ■  ■  a  a  a  aa  ■  ■  ■  a  a  a  an 
■  ■  ■  ■  a  a  a  aa  a  a  ■  a  a  a  a  , 

f  a  a  a  aa  a  :a  a  a  a  a  a  a  a 

a  a  a  aa  a  a  a  a  a  a  a    a  a  a  a 

■jb.  a  a  a  a  a  bggbgbgbi  a  a.  a  .a. ..a 
bqbobjb  or  a  a  a.  a  a  a  a  ai  a  a.:a 
■□■□■jb    a  a  a  a  a  a  a  aa  a  a  a  ; 

^□■□■□■□□□□EDHDBDBDBUBDBEGHDHDEia 

1  32 


Fig. 


197. 


GaGBBJBJ 
■□■□■□■□ 

■jb    a  a 

BJBJB  BJ 

4jajaBJBn 

BJBJBJBJ 

BJBJj.a  a 

1 B  .■  .B  "B  . 


Fig.  k 


□HGHJHBDB  IBG 

a  a  a  a  a  a  i 
a  a  a  a  a  a 

a  a  a    a  ia  a 
a  a  a  a  a  a 
a  a  a  a  a  a 

a  a  aa.  ■  :a  : 
B  a  a  a  a  a  1 
bub  a  a  a  a  i 

bgb  jb  j  ja  a  a 

BGBGB  UBJB JB J 
1BGBGBJBJBJBJ 


Fig. 


199. 


Fig.  198  is  constructed  out  of  the  regular  fancy  rib-weave,  5  (see  Fig.  177).    Repeat:  8 

warp-threads  and  4  picks. 

Fig.  199  is  constructed  out  of  the  regular  fancy  rib- weave,  £  j.  Repeat:  12  warp-threads 

and  6  picks. 

Fig.  200  is  constructed  out  of  the  regular  fancy  rib-weave,  *  ^.    Repeat:  12  warp-threads 

and  6  picks. 

Fig.  201  is  constructed  out  of  the  regular  fancy  rib-weave,  5  g,  with  four  changes  in  the 

repeat,  each  change  8  warp-threads,  thus:  repeat  32  warp-threads  and  8  picks. 


41 


Figs.  202  and  203  illustrate  a  third  sub-division  of  the  figured 
foundation  the  fancy  rib-weave  filling  effect. 

Fig.  202  is  constructed  out  of  the  regular  fancy  rib-weave,  ; 
8  picks. 


rib-weaves,  having  for  their 
-.  Repeat:  4  warp-threads  and 


1  a  a  a  a 
1  a  aa 
1  ■  ■  b  ■ 


1 
1 

1  i 
a 
:a 
■  ■  ! 

::■  ■  ■  aa  ■  ■  i 

aa  ■  ■  ::■  ■  ■  i 

IB    BBBBBBBB  BI 

1  ■  a  ::■  ■  ■  a  a  a 
1  ■    a  a  aa  a  a    a  a  a 

I    ■    ■    I    I    I    ■    H    I    I  I 


Fig.  200. 


i  a  a  a  ai 
1  a  1a  a  ai 
a  a  a  a  i 
■  ■  ■  ■  1 


i  a  a  a 

■  ■  ■  1 
a  b  a  1 
■□■□■□1 
a  ■  a  1 
a  a  a  1 

■  a  ■  t 
1 


1  ■  ■  ■  ■  a  a 

1  ■  a  a  ■    a  a  a  a 
1        a      aa  a  a  a 
1  aa  ■  ■  ■  ! 

,gb  ■■■■■■■  1 
ia«  ■  ■  ■  ■  ■  ■  n  1 


12 


Fig.  201. 


"  a  '    a*  1 

■  ■■■  '■■ 
1 1a  :  ,  ia  :  i 

■  >■■■  ■■ 

a  a 
■■■  ■■■  1 

IT!  !G  a 

■  ■a  j 

1  -4 

Fig.  202. 


Repeat :  6  warp-threads 


Fig.  203  is  constructed  out  of  the  regular  fancy  rib-weave,  5 — 
and  12  picks. 

The  next  method  for  the  designing  of  figured  rib-weaves  -  is  the  combination  of  the 
warp  and  the  filling  effects  of  the  common  rib-weaves.  We  may  select  both  effects  correspond- 
ingly, or  combine  two  different  effects. 

Fig.  204  illustrates  the  combination  of  the  common  rib-weave,  4  i,  warp  effect,  with  the 

common  rib-weave,  i  filling  effect.  Each  effect  is  arranged  for  a  repeat  of  8  warp-threads  and 

8  picks.    Repeat  of  complete  weave  :  16  warp-threads  and  16  picks. 


i-  aa 

■  1 

caa: 

■  1 

□eh: 
■□□1 


Z      !  1 

bbb 


IBBB  J 

:  aa  aa 
Fig.  203. 


ic  aaaa  ■  ■  a  a 
aaaa  a  a  a  n 

aaaa  ■  ■  ■  ■ 
aaaa  ■  ■  ■  ■ 

aaaaa  ■  ■  ■ 
aaaa  aaaa 
aaaaa  aaa 
aaaa        ■  ■  ■  a 
1  11  a  a 
a  b  a  aaaaa  i 
a  a  b  a 
a  a  a  aaaaa 
b  a  a  a 
a  a  a  a  aaaa 
a  b  a  b 
]a  a  a  a  aaaa 


10  :  aa  aa 
aar  r  ::::r  ri 

i :  a  a  .  aai 

F^aaHHaa! 
a  a  a  a  1 
i  a  b  .a  b 
a  a  m  a: 
□a  a  b  a 
:  b  a  b  ■: 
a  a  b  a 
a  a  a  a  ■  : 


aa 
aa 


Fig.  204. 


Fig.  205. 
warp  effect  with  the 


Fig.  205  illustrates  the  combination  of  the  common  rib-weave  - 

common  rib-weave  2  filling  effect.    Each  effect  is  arranged  for  a  repeat  of  8  warp-threads  and 

8  picks.  Repeat  of  combination  design:  16  warp-threads  and  16  picks.  These  changes  of 
warp  and  filling  effects  may  also  be  arranged  after  the  shape  of  a  certain  weave.  For 


example,  Fig.  206,  which  is  arranged  after  the  4-harness  broken  twill 


'  nana — aa GHBnBDBDBaGHi : ': ii  aa 
aaaa    ■  a  a  b      aaaa  i 
aa  a  a  a  aaa  aa 
aaaa      a  a  a  a    aaaa  , 
a  a  a  a  a  aaa        a  a 
aaaa      a  a  a  a  _.aaaa 

aaa  a  a  a  aa      : aa 
aaaa    aaaa      aaaa  i 

aa    aaaa    a  a  a  a 
aaaa    aa        aaa  a  a.  u 
aa    aaaa      a  a  b  a 
aaaa    aa        aa  ■  ■  ■  ■ 
.   aa    aaaa      a  a  a  a 
aaaa :  aa.       aa  a  a  a  a 

a a    aaaa    a  ■  a  a 
aaaa    a  a        aaa  a  a  a 

■  a  a      aaaa    a a        a a 

■  b  a  a a        a a    aaaa  i 
a  a  a    aaaa    a a        a a 
a  a  aaa        aa  aaaa 
a  b  a    aaaa    aa  aa 
b  a  aaa        aa    aaaa  i 

■  a  b      aaaa    aa  aa 

■  a  b  a a        a a  aaaa 
aa    aaaa    aa  aa 

aaaa    a a        a a  aaaa 
lb  B.B.aaa        aa    aaaa    aa  aa 
lb  a  b  a    aaaa    aa      . aa  aaaa 
1  a  a  a  aaa        aa    aaaa    aa  aa 
[  a  b  a  a  zaaaa    a a        a a  aaaa 
a  a  a  a  aa        a a    aaaa    a a        a a 

^□■□■□■□□□BQQaDDGBDLJGLjaGUDHGaQaD 


a  a 

t  a: 

UH.  J^l 

[  a: 
aa_B 

a  a'" 

a: 

aa 

a: 

a  a 

ac 

s  aaaa 
aar^r^: 

l:  a:-: 

aa 

[  GC 

aa 

a  i 

a  a 

a  1 

a: 


a  a  .  a  a    a  a    a  a  aaa 
i    a a    a a    a a    aaa  a  a  ■ 
a  a    a  a    a  a    a  a    a  ■  a  * 

aa    aa    aa    aaa  a  a  ■ 
a  a    a  a    a  a    a  a    a  a  a  a 
i    a  a    a  a  .  a  a    a  a    a  a 
a  a    a  a    a  a    a  a    a  a    a  a 

a  a    a  a    a  a    a  a    a  a  :•: 
a  a    a  a    a  a    a  a    a  a    a  a 
[    a  a    a  a    a  a    a  a  ,  a  a  a 
a  a    gq    a  a    a  a    a  a    a  a 
!    a  a    a  a    a  a    a  a     a  a 
aa    aa    aa    aa     aa  a:: 

a  a  a  a  aaaa  a  a 
aaj.  aa  :  a  .a  .a  aaa  aa 
[  a  a  aa  a  a  a  a  aa  r: 
a  a  a  a  a  a  a  :aaa  a  a 
l  aa  aaa  a  a  a  :  aa  aa  aa  aa 
gg  .  aa  a  a  a  a  aa  aa  aa  aa  . 
1  aa  aaa  a  a  a  aa  aa  aa  aa 
a  a    aa_   a  a  a  a  a  a    a  a    a  a    a  a 

a  a  a  a  aa  a a  .  aa  aa  aa  aa 
[  a  b  a  aaa  aa  aa  aa  aa  aa  ; 
i  a  a  a  a  aa  .  aa  aa  aa  aa  aa 
1  1  1  1  aaa  aa  aa  aa  aa  aa 
a  a  b  a  a  a  a  a  a  a  a  a  a  a  a  a 
a  b  a  a  a  a  a  a  a  a  a::  a  a  a  a 
a  a  a  a      aa    aa     aa    aa    aa  aa 

lHDBDHGB^GQ— .JQQUJQQ— — GQULOQUQEQCjQ 


G"GG 

aa  _] 
a    a  a 

a  a 
a  aa 
a  a  ] 
a  _.gg 
.aa  1  j 
a.  a  a 
a  a  a 
aaa 
aaa 
a  b  1 

B  B 

a  a  . 
b  a  ] 

%^ 
a  aa 
a  a 


Fig.  206. 


Fig.  207. 


For  warp  and  filling  face  the  same  fancy  rib-weave  (2  4  2)  is  used.  Each  change  in  effect 
(after  the  4-harness  twill,  as  mentioned  before)  is  arranged  for  8  warp-threads  and  8  picks 
repeat.    Repeat  of  weave:  32  warp-threads  and  32  picks. 


48 


Fig.  207  also  has  for  its  principle  the  four-harness  broken  twill, 
rib-weaves  are  used  in  its  construction,  as  follows  :  For  the  warp  effect 1 


2 

weave 


Two  different  common 
— 4 ;  for  the  filling  effect 
Each  change  in  effect  is  arranged  for  8  warp-threads  and  8  picks  repeat.  Repeat  of 
32  warp-threads  and  32  picks  repeat. 


u  ■  ■  ■      be      bee    bee  ■  ■  ■  i 

■  ■  ■  bbee    bee      be  ^  ■  ■  ■  ' 

BBBB        EE         BEE  BBB 


■  ■ 

L  ■  I 
!  ■  I 
[  ■  I 

BBBr 

EBB" 


ebb 

BBB 


bee 

BBB 


BBB 


i  b  a  b  a  mm  a 

I    B    B    B    B   B    B    B  1 

■  ■    ■  ■ 

■  ■    ■    BBBB    _ BBB 

3BL3BDBDBDCDBECDD 
IDBaBDBDBBBLiCGBB 

^■□■□■□□□□QHncD 

■  ■  ■  BBBB  BBB 
BBB   ■  : 

■sb  bbbb  bbb 

:bb  bbb  bb  .  j 
bb  bbb  bbb 
:bb  .bbb.  .  bb  j  .  j 
bb  bbb  bbb 
jsbcobbhdcdeb  1 
□bqbdddcbb  bbb  bbb 
i  ■  ■  bbb  .  bbb  bb  1 
ibb        bb      bbb  bbb 


BBBI 


n  b 


DBIjBDBC 


2<n 

.  B  B 

□ 


bb 

BBB 
EBr^_ 

bb""" 

BBB 

BB 

BBB 
BB  B 
B 

BB  B 


B^B  BBB  — -BBE-B^B 
B    BBBB         BBB  B  B 

BBB         BBB    B  * 
3B        BBB    B    B  B.J 
BBB  B   B  B.j 

33        BBB  BBBI 
•BBB  J  BBBB 

a  .    j;  a  a  m  a  a 

BBB    B    B    B   ■  B 
3B    B    BBB   B  B 

a  a  a  a  a  bb 

3E   BBB  BBB 

■  B  B  BIB  B  B 
■BBBB  BBBB 

■  a  b  a  a  a 

BBBB 

BBB    BBBB  B 

a  a  a  a      ebb  : 

■  a   B        BBB  B 

B   B   BBBB         BBB I! 

m  ma      ebb  b 

B       BBB       ebb  : 
BBBB  BBB 
B        BBB  BBB 


Fig.  208. 


Fig.  209. 


Fig.  208  illustrates  a  figured  rib-weave  having  warp  and  filling  changes  equal  (^-^— 3),  and 
with  systems  of  effects  arranged  to  exchange  in  the  shape  of  the  4-harness  even-sided  twill. 
("Hs").     Repeat:  32  warp-threads  and  32  picks. 

Fig.  209  illustrates  warp  and  filling  changes  equal  (- — — rA),  both  arranged  to  exchange  in  the 
shape  of  an  even-sided  twill.  Examples  204  to  209  will  indicate  the  great  variety  for  figured 
rib-weaves.    An  endless  number  of  them  could  easily  be  constructed. 

In  the  beginning  of  our  explanation  of  the  common  rib-weaves,  we  mentioned  that  in  "  warp 
effects  "  the  warp  forms  the  face  and  back  of  the  fabric  and  the  filling  rests  in  its  centre,  while 
in  "  filling  effects,"  the  filling  produces  the  face  and  back  and  the  warp  rests  in  its  centre.  To 
improve  or  increase  the  strength  of  the  fabric  we  may  interlace  the  warp  or  filling  threads  float- 
ing on  the  back  of  the  fabric  on  an  extra  weave.  Figs.  210,  211  and  212  are  designed  to  give  a 
clear  illustration. 


1     B    B    a    m  BBBB 
1   8   BEB  \  St    a  BBB 
[ B    BBB    »   B    BBB  B 
L  BEB    B    B   BEB   B  B 
EB   B    B   BEB  BBB 

lb  b  a  a  b  b  ma 


b  a  BBB 

b : beb  a 


[  B   IB!  :a  "  ~W  BBB 

BBB  .B  BBBI  B  j 

BB   BB  BB  BB 

BB    BB  BB^  BB 

BBB    B  BBB  B 

B  -  BBB  B  .BBB  ] 

B  BBB  1  B  BBB 
■  BB    B  BBB'  B  B 

BB   BB  BB  BB 

BB    EB  .    II    BB  J 

BBB    B  BBB  B 


"  :  BBB'  iB'  ~!'  "  BBD  ~B 
HI    B  BBB  B 

BB    BB  BB:  BB 


ccccccbbbsb: 
bbb  a      z  a 

□□□□□BBBBBl 

bb  bi>  :     :  i 

B  BBB 

b  bbb  ::  i 

1  1U 


B  BBB 


Fig.  210. 


F:g  211. 


Fig.  212. 


Fig.  210  illustrates  the  common  g  rib-weave  (warp  effect),  having  its  warp-threads,  as 

they  float  on  the  back,  interlace  in  rotation  once  more  with  the  filling,  and  thus  giving  additional 
strength  to  the  fabric. 

Fig.  2ii  illustrates  the  common  g  5  rib- weave  (filling  effect).    The  filling,  when  floating 

on  the  back  of  the  fabric,  is  arranged  to  interlace  additional,  after  the  manner  of  a  broken  twill. 
Fig.  212  illustrates  this  additional  interlacing  arranged  with  the  same  twill  for  each  rib. 

Effects  Produced  by  Using  two  or  more  Colors  in  Warp  and  Filling  of  Fabrics 
interlaced  upon  Rib  and  Basket-Weaves. 


Rib  and  Basket-weaves  are  frequently  used  for  producing  various  effects  by  different  com- 
binations of  colors  in  warp  and  filling.  We  will  describe  a  few  of  the  effects  most  frequently  used, 
thus  giving  the  student  the  necessary  points  for  the  construction  of  any  effect  he  may  have  occa- 
sion to  produce. 


49 


Fig.  213  illustrates  an  effect  derived  by  a  color  arrangement  of  the  warp  (dressing),  1  end  light, 
I  end  dark,  and  a  color  arrangement  of  the  filling,  2  picks  light  2  picks  dark,  upon  a  fabric  inter- 
laced with  the  common  rib-weave  (warp  effect)  =  -T 


Diagram  for  Explain- 
ing Pigs.  213  to  224. 
Arrangement 
of  Warp 
(Dressing.) 


Weave 


Effect. 


ED 
:  a 


L       i        i  I:'..."'  '  I 

aa  aaaaaaaaaaaa 
: "aa  aaaaaaaaaaaa 

„.:;■-:.  :n 
aa  aaaaaaaaaaaa 
aa  aaaaaaaaaaaa 

■ 

aa  aaaaaaaaaaaa 
caaaaaaaaaaaaaaa 

Fig. 


1 

a  a  a  a  a  a 


1  ■  □ 

□  □ 

.  aa  .  ibi 
aa  a 

i  .  '  ia 
a 

aa  a 
a  a  a 
a 
a 

a  a  a 
aa  a 
a 

_  a 


a 

a  a 

a  a 

a  a 

a  a 

a  a 

a  a 

a  a 

a  a 

a  a 

a  a 

ia  a 

a  ,v 


■■nnnnnnnc 
i    ■■  ii  aa    aa  aa 
■■ 

(  ■■ 

1  a  a      a  a 


iaa 


t 

l  M 

m.  : 
i  a  a 

aa 

aa 


■■  aa  aa  uaa 
■■     ;  aa    aa  aa 


213. 


Fig.  214. 


aa    aa  aa 

Fig.  215. 


:aaaaaaaaa 

■ 

:aaaaaaaaa 


Fig.  216. 


Fig. 


214  illustrates  the  same  weave  and  the  same  arrangement  of  the  warp  as  Fig.  213- 
The  arrangement  of  the  filling  is  also,  2  picks  dark,  2  picks  light,  as  used  in  Fig.  2 1 3,  but  is  started 
on  the  opposite  shed.  In  Fig.  213  the  light  filling  covers  the  dark  warp  and  the  dark  filling 
covers  the  light  warp,  and  the  effect  produced  are  lines  across  the  width  of  the  fabric,  (in  the 
direction  of  the  filling),  each  line  having  the  size  of  two  successive  picks  ;  in  Fig.  214  the  light 
filling  covers  the  light  warp  and  the  dark  filling  covers  the  dark  warp,  forming  for  effect  a 
hair-line. 

Fig.  2 1 5  illustrates  a  heavier  hair-line  obtained  with  the  common  rib-weave  filling  effect  2  2. 

Arrangement  for  the  warp:  2  ends  light,  2  ends  dark.  Arrangement  for  the  filling:  1  pick  dark, 
I  pick  light,  each  style  of  warp  covered  by  its  own  colored  filling. 

Fig.  216  illustrates  the  tricol  effect  produced  on  the  same  rib-weave  as  Fig.  215  ;  also  the 
same  color  arrangement  for  warp  and  filling,  except  that  the  light  filling  covers  the  dark  warp, 
and  the  dark  filling  covers  the  light  warp. 


■1 

a  a 
aa 
a  a 
aa 


Fig.  217. 


:a    aaaa  1 

:a    aaaa  1 

] 

aa  1 
;aaaaaaa 

a  a  1 

:aaaaaaa  1 

a  a  1 

:aaaaaaa  1 

aa  1 

;aaaaaaa  1 

:  aa  1 

:aaaaaaa  1 

aa  1 

jaaaaaaa :  j 


GT'B- ■  

HUH 

□□□□□□□□□□ 

jnundn 

■   ■  ■ 

□■□■□■8 

ai  a  f  1 

1  ■ 

\  m 

■  ■ 

■  ■ 

□□□□□□ 

s 

r  I 

□□i 

a  a  i 

□□I 

□□i 

□□i 

□□i 

nn 

a'  a  i 
a  a  i 

"  i  i 

j  i  ;  !  :>  ! 

a  a  i 
a  a  ;  i 

Fig. 

218. 

'  ■■ 

i  a 
!  a  a 
a 

a  a 
a 

H  >l 
a  a 

r  •  -  a 
a  a 
a 

a  a 
a 


Fig.  219. 


Fig.  217  illustrates  an  effect  obtained  by  combining  effects  Figs.  215  and  216. 
of  the  warp : 


Arrangement 


2  ends 

light, 

2  " 

dark, 

2  " 

light, 

4  " 

dark, 

2  " 

light, 

4  " 

dark, 

16  ends  in  repeat. 

Arrangement  of  the  filling :  one  pick  dark  to  alternate  with  one  pick  light. 

Fig.  218  illustrates  an  effect  produced  upon  a  fabric  interlaced  on  the  common  rib-weave 
(warp  effect)  3,  with  the  following  arrangement  for  the  warp : 

2  ends  light, 

I  end  dark, 

I    "  light, 

I    "  dark, 

5  ends  in  repeat  Filling:  all  light. 


50 


Fig.  219  illustrates  a  hair-line,  upon  a  fabric  interlaced  on  the  fancy  rib-weave  j  -  (filling 

effect).  Dressing  :  1  end  dark,  2  ends  light,  =  3  ends  in  repeat.  Filling :  one  pick  light  to  alter- 
nate with  one  pick  dark.    Each  color  in  warp  is  covered  by  its  own  color  in  filling. 

Fig.  220  represents  another  hair  line,  having  more  ground  space  between  each  line.  Weave: 

fancy  rib  l  -.    Dressing:  1  end  dark,  3  ends  light,  =  4  ends  in  repeat.    Filling:  1  pick  light, 

1  pick  dark.    Each  color  in  warp  is  covered  by  its  own  color  in  filling. 

Fig.  221  illustrates  a  heavy  hair-line  effect  similar  to  the  one  shown  in  Fig.  215  and  is  pro- 
duced upon  a  fabric  interlaced  with  the  common  4-harness  basket-weave.  Dressing  and  arrange- 
ment of  filling :  2  ends  light  to  alternate  with  2  ends  dark.  Each  color  in  warp  to  be  cov- 
ered by  its  own  filling. 

Fig.  222  shows  an  effect  produced  with  the  same  weave  and  dressing  as  Fig.  221.  Filling: 
all  light. 


BB 
BB 


BB 

LBB.. 


\ 


Fig.  220. 


:: 

m 

i 

IC3Q  |  IHE3 

Mi 

Fig.  222. 

Fig.  221. 

Fig.  223  illustrates  a  "  star-effect "  obtained  upon  a  fabric  interlaced  with  the  4-harness  com- 
mon basket-weave.    Arrangement  for  warp  and  filling  : 

1  end  light, 

2  ends  dark, 
1  end  light, 


4  ends  in  repeat, 


■55 


JpT 

Z'jiZ  L'XXi 


Fig.  223. 

Fig.  224  illustrates  another  small  effect  upon  a  fabric  interlaced  with  the  4-harness  basket- 
weave.    Arrangement  for  warp  and  filling  : 

color  No.  1. 


2  ends  dark,  ) 


4  ends 


color  No.  2. 


6  ends  in  repeat  of  color  arrangement,  and  12  ends  the  repeat  of  the  entire  effect. 
It  will  be  easily  seen  that  an  endless  variety  of  effects  can  be  produced,  but  those  pre- 
viously given  illustrate  the  most  frequently  used,  and  will  be  a  guide  for  the  student  in  construct- 
ing other  effects  on  2,  3,  or  more,  color  arrangements. 


VI.    Oblique  Rib-Weaves. 

This  sub-division  of  the  rib-weaves  is  used  in  the  manufacture  of  a  line  of  fabrics  tech- 
nically known  as  "  basket-cloth  "  ;  and  they  are  also  used  to  a  great  extent  in  the  manufacture  of 
worsted  suitings,  cloakings,  etc.    For  their  construction  we  use  the  following  rule  : 


51 


Divide  the  repeat,  which  must  be  equal  warp  and  filling-ways,  in  four  equal  squares.  (For 
example,  take  diagram,  Fig.  225.  Suppose  n  a,  b,  c,  d  to  form  the  repeat  for  the  weave,  warp 
h  and  filling-ways.  Small  squares  numbered  1,  2,  3 
and  4  are  the  four  equal  squares  required.)  Next, 
divide  the  main  square  (a,  b,  e,  d)  into  eight  parts 
by  running  two  oblique  lines  from  each  corner  through 
the  centre  (e)  to  the  opposite  corner.  For  illustra- 
tion, see  diagram,  Fig.  226 :  lines  b  to  d  and  a  to  e,  in 
addition  to  lines  /  to  h  and  i  to  g  will  divide  the  main 
square  a,  b,  e,  d  into  eight  even  parts,  each  of  a  tri- 
angular shape,  as  indicated  by  numbers  1,  2,  3,  4,  5, 
6,  7  and  8.  Two  methods  of  construction  can  next 
be  observed :  either  we  fill  out  every  triangle  containin 
effect,  and  every  even-numbered  triangle  with  a  warp-rib  effect,  or  we  select  two  connecting 
triangles  such  as  1  and  2  =  a,  e,  b,  for  warp  effect  rib-weave,  and  the  next  two  triangles  3 
and  4  =  b,  e,  e,  for  filling  effect,  to  be  followed  by  triangle  c,  e,  d  with  warp  effect,  and  triangle 
d,  e,  a  with  filling  effect.  Weaves  Figs.  227,  228,  229  and  230  are  constructed  according  to  the 
first-mentioned  rule.  Figs.  231,  232,  233  and  234  are  produced  according  to  the  second 
method  of  construction. 


I 

2 

4 

Fig. 


225. 


uneven  numbers  with  filling-weave 


enrciri 
cbbbgg 
1:  mmm 
bbbgbg 
mi::: 

1  6 

Fig.  227. 


j  6  warp-threads. 
P      \6  picks. 


aaaaa  ■  : 
□  '  ■  ■■ 
a  aaa  .  >  i 
a  a:  ■■■■ 
■■■■  a  a 
□□□■BE  a 

1gbgbeebb 

Fig.  228. 


-p.  ^  f  8  warp-threads. 
RePeat{8picks. 


BBBBB  ■ 

i  ■  bbb 

□HDQHBI  I 

■■■■■  n  1 

■  KH  H  i 
■■■  ■ 

■  Bnaaa j 

1  10 

Fig.  229. 


Repeat/10  wa[P-threads- 
(_  10  picks. 


isHBEaaaa  ■  d 
a         ■  ■  an 

a  aaaaa  ■ 

a  a 

a  a  aa« 
a  a  a: 
■■■■■■  a 

□□□rr        a  a 
■■■■  ■'  i 
□□(!■!  aaaaa  a 
■■  ■  ■  a 

1DBDBDBHHQHHH 

Fig.  230. 


Repeat 


12  warp-threads. 
12  picks. 


6CBGBGB 

aacBca 

□□□BBB 

BBBnna 

□□BDH3 
1BCBDHD 

Fig.  231. 


Repeat,^  warP-threads- 
r      [  o  picks. 


a  bhbt 

□CBDBDBB 

aaa  ■ 

crj.r.HM 

BBBB 

1  ■  aaa 
BB  b  a 

idbobdhdh 

Fig.  232. 


Repeat  | 


warp-threads, 
picks. 


locaranBDBna 
aa  'B^BDBGn 

ClZHBCBCBBB 

aaaa  b 

□□□□□bbbbb 

bbbbbd'zccg 

rc  •  b  aaaa 

□□■□■□HDBa 
1BDBGBGBDBU 

1  w 

Fig.  233. 


Repeat 


:o  warp-threads, 
:o  picks. 


i?BrBCBGBCBGBG 
GGB'.  a  B  B  BB 

aaa  a  b  g 

GGGGB;  B  BBBB 

aaaaa  b  ~ :  1 

GGGCGL  BBBBBB 


CG 


BB   B    B  a 

1:  a  a  e  a  a  a 


Fig.  234. 


Repeat 


2  warp-threads. 
2  picks. 


1  a  a  a  a  a      aaa  aa 
a  a  a  a  a  a  a    a  a 
a  a  a  a  a  a  a  aaa 
aaa  a  a  a  a  a  a 
a  a  a  a  a  a  aa  a 
a  a  a  a  a  a  aaa 
i-'B  b  b  b  b  a  aaa 

B   B   B   B  BB 

bbbb  ■  b  aaa 

B   B  BBBB 
BBBBB   B  _ 

gqqqggbbBbbb  aaa 

BBBBBB 

GGGGCBGBBBBBGGCBEB 

bbbb  a  a        aaa:  3 

BBB  BBB 

bb  bbb  a  aaa 

IGBGBGBZBGBGBGGGBaa 

1  12  18 

Fig.  235. 


Combining  Common  Rib  and  Oblique  Rib-Weaves0 

Design  Fig.  235  illustrates  the  repetition  of  weave  Fig.  234  with  an 
additional  common  rib  effect,  warp  and  filling  ways,  which  will  form 
horizontal  and  vertical  lines  in  the  fabric  for  outlining  the  effect  pro- 
duced by  the  oblique  rib-weave.    Repeat:  18  warp-threads  and  18  picks. 


Derivative  Weaves: 


FROM  THE  REGULAR  TWILLS. 


I.    Broken  Twills. 


"  Broken  twills  "  are  derived  from  the  regular  twills  by  running  the  direction  of  the  twill 
one-half  of  the  repeat  from  the  left  to  the  right ;  and  the  other  half  from  the  right  to  the  left. 
These  changes  of  the  direction  of  twill  must  be  arranged  so  as  to  produce  a  well  broken  up 
effect.  By  means  of  this  break,  or  change  of  twill,  we  produce  a  like  change  of  the  twill  line, 
visible  upon  the  face  of  the  fabric ;  hence  this  classification  as  broken-twill  weaves. 

The  first  number  of  harness  for  producing  a  broken  twill  is  four-harness,  and  the  regular 
twill  to  be  used  for  it  is  the  3  twill. 

After  interlacing  the  first  warp-thread  in  the  first  pick,  and  the  second  warp-thread  in  the 
second  pick,  change  the  direction  of  the  twill  by  interlacing  the  third  warp-thread  with  the 
fourth  pick,  and  the  fourth  warp-thread  with  the  third  pick. 


-  m  a 
■  ■ 

4DDBDD □■□ 
□□□BZZZB 

□bddzbz  j 


■■■■■■ 
■■■■■■ 


□BZZZB 

'«  :  ■  zzz 
zz  ■  ■ 

■  :.  ijzi 
□■  m 
1.    m  m 


Fig.  238. 


□□□bzzzzzbzz 
□□□□■□□□□□■a 

□□■□□□□□■Z^'Z 

■  ":  «... 

^□□■□□□□□■zzi 
□□□□■□□□□□■a 

i  ■  izz  ?  m  1 

1  0 

Fig.  239. 


Fig.  236.  Fig.  237. 

Fig.  236  illustrates  this  3  4-harness  broken  twill  (filling  for  face  in  fabric). 

Fig.  237  represents  the  opposite  effect,  or  the  3  i  4-harness  broken  twill  (warp  for  face  in 

fabric). 

Fig.  238  illustrates  the  4-harness  1  3  twill,  broken  only  filling  ways. 

After  running  3  picks  on  regular  twill  from  right  to  left,  its  direction  is  changed  from  left  to 
right  for  the  next  3  picks.    Repeat :  4-harness,  6  picks. 

Fig.  239  represents  the  broken  twill  derived  from  the  six-harness  -5  twill.  Three  successive 

warp-threads  are  interlaced  with  three  successive  picks  in  regular  twill  from  left  to  right,  and  the 
remaining  three  warp-threads  and  three  oicks  are  interlaced  in  the  opposite  direction  of  twill, 
i.  e.y  right  to  left. 


■ :~  zb  ■ 
■  ■ 
■  ■ 


■ 

■  ■ 

j  ■ 

I  J 
J 

□□■□□□□□□□■□□a 
■  : 

■  ■ 

■  ■ 
■  ■ 

■  m 

Fig.  240. 


z'-  -  ma  •  i     •  bg  1 
[       ama         .ama  ] 
1         bbh      z  ama 
ram 

::■  am 

f  aaa  zTzaBaacaa 

BBB  ,  1  i  I  IBBBZZnZZI 

■h  :mz~ jzaazsnazz 

■::         ,  ma 
.  :  ama  \    iz:  ama  i 
ama  ama 
am  am 
am  am 
1  ama  ama 
ama  ama 
iBaaacDazBaDazzan 


Fig.  241. 


□□□□□□■□□□□□□□□□■□□r 
r:  ■  i 

□□□□□□□□■□□□□□□□□□■a 

□□□□■□□zi .  ■ 
□□□■□□□□□□□□□■□□□□□a 
□□■□□□□□□□□□■□□□□□□a 
□■□□□□□□□□□■□□□□□□an 

^□□□□□■□□□□□□□□□■□□□a 
□□□□□□■□□□□□□□□□■□□a 

□□□□□□□□■□□□□□□□□□■a 

ZB 

□□□□BDZZ  B  ZZZZ 

□□ZB        .     1  ,i  JZZBLZZZZZZ 

□□BannacaaaaBanaazzz 
□bzz:  j  ji  jZzzzbzzzzzzzz 

1  10 


nnnHnBaannzz^n~Bn  :  a 
a  a  ama  :a  a  ama  z: 
i  a  a    ama  '  a  a  ama 

□□□□□□□□BHDDHZHZ' :  QBE 

1  a    '  a    am  a      a  :  am 
a  1  ::b  a      a    am  a 
ama    a  a    ama    a  a 

naBHZZGzazznBHZza.  a 
ama    a  a    ama    a  a 
ma  :         a  ma    a  a 

KocoHaBacoazzoEaBH 
a  a:   ama    a  a  ama 

□HDBODHiHDDHGEDDGIH 

i    a  a :  ama    a  a  ama 
□□□□□□zzbb  a     -  a  am 
a    am  a      a    am  ar 
ama    a  a    ama    a  a 

1  ama    a  a    ama    a  hz 

ama  ia  .a  ama  :,  :z  a  ~ ,  \ 
iaa_    a      a  ma    a      a  . 

1  10 


Fig.  242. 


Fig.  243. 


Fig.  240  illustrates  the  -„  8-harness  broken  twill. 


Warp- threads  1,  2,  3,  4  interlacing  in  rotation  in  picks  I,  2,  3,  4. 

5,6,7,8        "  "  "  8,7,6,5. 

Fig.  241  represents  twill,  fig.  240,  arranged  for  a  fancy  combination  by  adding  spots,  regularly 
distributed  over  the  entire  repeat. 

Fig.  242  shows  the  1  9  10-harness  broken  twill. 

(52) 


53 


Fig.  243  represents  a  fancy  combination  weave  produced  out  of  weave  fig.  242.  The 
original  10-harness  broken  twill  is  shown  in  Fig.  243  in  the  same  kind  of  type  as  in  Fig.  242. 

Fig.  244  illustrates  the  regular  2  twill,  arranged  for  a  broken-twill  weave  (broken  in  the 

direction  of  the  warp).  After  running  six  warp-threads  in  the  direction  from  left  to  right  (regu- 
lar), we  form  a  break  and  run  warp-threads  7  and  8  with  the  twill  in  the  opposite  direction. 


■ 

■ 

B 

Fig.  244. 


Repeat 


j  8  warp-threads. 
\  4  picks. 


By  means  of  a  fancy  drawing-in  draft  (1,  2,  3,  4,  1,  2,  4,  3)  we  can  arrange  this  weave  for 
four-harness,  having  the  foundation  weave  (?  2  regular  twill  )  for  the  harness-chain. 


■■  ■ ■■■         ■■    '■     ■  ■■  umm 
mmm      mm  m    m    mm        mmm        mm    m    m  mm 
i    ■  ■■      ■■■      ■■  ■    ■  .  .■■        ■■■        ■■  ■ 
1  ■■    ■    ■  ■■      ■■■      ■■  ■    ■    mm  mmm 
mmm-        mm    m    m  mm      mmm      urn  m    a  urn 


Fig.  245. 


F.g.  246. 


Fig.  245  shows  the  6-harness 


twill,  arranged  as  follows  : 


9  warp-threads  twill  from  left  to  right,  break,  and  the  next 
3        "              "        "    right  to  left,  " 
3        "              "        "    left  to  right,  " 
9        "              "       "    right  to  left. 


24        "  in  full  repeat. 

Drawing-in  draft  will  call  for  6-harness ;  and  for  harness-chain  the  foundation  twill  - — 3  must 
be  used. 

Examples  Figs.  244  and  245  will  also  illustrate  and  explain  any  different  changes  in  using 
a  different  number  of  warp-threads  in  rotation  before  breaking  off.  In  this  selection  we  have  an 
unlimited  variety  at  our  disposal. 

Fig.  246  illustrates  the  breaking  off  of  every  three  warp-threads  in  rotation  upon  the  /-har- 


ness 


twill. 


Fig.  247  represents  5  warp-threads  of  the 


twill,  used  successively  from  the  left  to 


right ;  next  a  break  and  five  additional  warp-threads,  used  with  a  twill  arranged  from  right  to  left. 
These  breaks  may  also  be  applied  to  different  graded  twills  as  270 — 630 — 700,  etc.,  and  which 
will  be  treated  under  the  sub-division  of  the  regular  twills  in  the  next  chapter. 

For  illustrating  this  point  Fig.  248  is  designed,  representing  12  threads  of  the  630  steep- 
twill  5  2  1  2  in  a  direction  from  left  to  right,  and  12  additional  threads  of  the  same  weave  having 
its  direction  of  twill  from  right  to  left. 

i    ■■■    ■■■    ;■■  ■■■■■■ 

"  ■■■ 

[  ■■■    ■■■    ■  ■■  '■  ■■  ■  ■ 


■  ■  ■■■      ■  ■  I 
■    ■■  ■■    ■  ■■ 

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i'  ■■■■■■  ■■■    ■■■  ■■■ 

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■  ■■  ■  :■  umm    mmm  m 
■■■■■■  1 

■■  ■  ■■  ■  ■■  ■■■  ,  mum  1 
■■  '  ■■■  .  ■■■ jm  mm  m  mm  n 


Fig.  247. 


Fig.  248. 


The  arrangement  of  a  steep-twill  containing  700,  630,  45 °,  360  grading,  combined  for  a 
broken-twill,  is  shown  in  weave  Fig.  249.    Repeat:  48  warp-threads  12  picks. 

The  foundation-twill  for  this  weave  is  the  regular  4  1  1  4  1  x  12-harness  twill,  which  is  also 
used  for  harness-chain  if  using  a  cross-draw  for  drafting  weave  Fig.  249,  for  12-harness. 


54 


The  next  sub-division  of  "broken-twills"  out  of  "  regular-twills  "  is  found  in  arranging  the 

breaking  off  filling  ways.    For  example:  Fig.  250  illustrates  the  4  4  twill  broken  filling  ways 

after  every  four  successive  picks.    Repeat :  8  warp-threads  and  8  picks. 

h    la  i  a  mum  a  >        aa  ■■    a    ■■■■b  a  j.  .a:  a« 

■■        ■■■  .a  aa  ■■■■■  a      ::mm  □□■■ 

iiaS  a        iaa  :  bbbb  a      i  bb:-:  b 

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bb    aBBBa        a  bbbbbb  <  i  a  bbbb  bb  □■ 

::■        bb  a  bbbbbb  aa  ua  bbbb::    aaaa  i:j 

i  aa  aaa  a      a  bbbbb  bb  .aa  a  aaa  a      a  a 

bb      aaa      a  bbbbb  aa      aaa               a  aaa      aaa  ■■■■□□□□■■■■□□□□ 

a    aaa        a  bbbb                bbbbb  aa        a  aaaa      aa  bbbb  bbbb 
aa    bb::    a  bbbb  aa          i  bbbbbb             a  bb  ::b 

B      BB             BBBB    a  :        '              ■  BBBBBB    a      '      aBBBa      BB  1  BBBB:  :  BBBB 

aaaa    ::■■■■  a                 aa  bbbbbb  a         bb        aa  i  bbbb  jludbj 

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aaa      bbb  a               bbb      a::  bbbbb  a      ::bb      bb  b        bbbb  bbb 

aa      aaaa  a        a  a  bbbbb               bbbb  a:        bb::    b  bbbb      i  bbbb 

aa      bb  a  bbbbbb  aa  bbbb  a  i  aaa  an 

aa    aBBaa        a  bbbbbb     aa            a  bbbb          bb    a  □■■■■□□□□■■■■□□□ 

aa        bb          a  bbbbbb  aa                 a  aaaaa    aaaa  bbbb  bbbb 

aa  aaa  a      a  bbbbb         bb  aa        t  ja  bbb  a      b  .  a  bbbb        bbbb  i 

bb      aaa  ,    a  bbbbb  aa      bbb    a        i  a  bbb      aaa    ;  ■■■□□□□■■■■□□□□■ 

a    aaa        a  bbbb               bbbbb  aa    i  ;  a  aaaa      aa  bbq      bbbb  IjBB 

aa    bb::    a  bbbb  aa            bbbbbb             a  bb      aa  h        bbbb  bbb 

a    mm         bbbb  a           aa    bbbbbb  a        aaaaa         :  r       .bbbb      .  ■■■■ 

1                                                                 24                                                                   48  18 

Fig.  249.  Fjg.  250. 

Fig.  25 :  shows  the  j  twill  broken  filling  ways  after  every  four  picks.   Warp  ways  2  threads 

are  missed  after  every  6  warp-threads,  to  produce  an  additional  fancy  effect.  Breaking  off  regular 
(or  steep)  twills  in  the  direction  of  the  warp  and  the  filling  will  form  the  next  movement  in  the 
construction  of  broken-twills  out  of  the  regular  twills.  In  this  manner  Figs.  252  to  255  are 
constructed. 

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BBB   B         BB      BBB   B         BB  BB   :  BB      BB  BBm 

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aa      aa  aa      aa  ]  bb    bb    bb  • 

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.a.  aa                        bb      b  bbb    bb      b  bbb  bb    bb    bb    bb    bb  bb 

aa  .aa      aa  a                        amm      bbb  i  h  bbb  "  bbb  bb    bb  b    b  bb  b  m.  m  a 

:        BBB      "BBB'     <  BBB     ..'BBB  BB.      BB..    BB   '  BB'      BB      BB  □ 

.•  a  aa  a  ,i  a  a  a                           bbb  b      bb  .  bbb  b      bb  ■□□■■    m  mm  m    m  a  a  ■■  i 

b  bb  b  ..  b  bb  b  .                         (  bbb    bb      b  bbb'  '_  bb      b  □□■■□□■■  □■□□■■□□■■□□■■ 

i  bb  bb     bb  bb                        ■■■□□□■■■□□□■■■□:.■■■□□□  bb    bb  b    b  bb  b  b  b  i 

ib  bb     bb  bb                          ■■□□□■  bbb  j  '.bb,  i1.  y'm  "■■■□□  bbbb    bb  'bb    bb  bb 

ib_bb_bl,l_bjbb_b_u  !■□□■■□□■□■■  ■    ■  i:zb: 

18                                                                                               12  8          12         16   18  20 

Fig.  251.                                     Fig.  252.  Fig.  253. 


Fig.  252  is  obtained  from  the 


twill,  by  arranging  the  breaking  off  in  the  direction  of  the 


B  BB"      '  B 

B      B      I  BJ 

(     BB  BB  . 

L    BB  BB  ..) 

LB  BBB 
B  .□.     BB  B 


BB  BB 

□    BB            BB  .: 
LBB      fl  ■ 
B  ■■   B 


warp  and  filling,  after  every  6  successive  threads.    Repeat:  12  warp-threads,  12  picks. 

Fig.  253  has  for  its  foundation  the  regular  2  4-harness  twill.  Arrangement  forbreaking  the 

weave  after  warp-threads  8,  12,  16,  18,  20,  and  24,  thus  forming  twill  effects  of  three  different 
sizes  as  follows  :  2,  4  and  8  threads. 

Another  step  towards  figuring  for  broken-twill  designs  is  that  of  using  a 
motive  (effect)  for  figuring  by  means  of  the  two  directions  of  the  twill.  To 
illustrate  this  method  Figs.  254  and  255  have  been  designed. 

Fig.  254  illustrates  two  repeats  of  the  motive,  warp  and  filling  ways.  Fig.  255 

'  Fig."  254.         shows  this  motive  applied  to  a  broken-twill  weave  produced  by  the  3  twill. 

12  warp-threads  and  12  picks  are  used  for  each  part  of  the  effect  in  the  motive; 
therefore,  as  6  parts  compose  the  motive,  we  have  6  X  12  =  72  warp-threads  and  72  picks  the 
repeat  for  the  complete  design.  n  in  motive,  is  illustrated  n  in  the  design ;  n  in  motive  is 
shown  e  in  the  design. 

Warp-threads  1  to  12  in  the  weave  equal  the  longitudinal  row  1  of  squares  in  the  motive. 
Warp-threads  13  to  24  in  the  weave  equal  the  longitudinal  row  2  of  squares  in  the  motive. 
Warp-threads  25  to  48  in  the  weave  equal  the  longitudinal  rows  3  and  4  of  squares  in  the 
motive. 

Warp-threads  49  to  60  in  the  weave  equal  the  longitudinal  row  5  of  squares  in  the  motive. 
Warp-threads  61  to  72  in  the  weave  equal  the  longitudinal  row  6  of  squares  in  the  motive. 


55 


Picks  I  to  12  in  the  weave  equal  the  horizontal  row  I  of  squares  in  the  motive. 
Picks  13  to  24  in  the  weave  equal  the  horizontal  row  2  of  squares  in  the  motive. 
Picks  25  to  48  in  the  weave  equal  the  horizontal  rows  3  and  4  of  squares  in  the  motive. 

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Fig.  255. 

Picks  49  to  60  in  the  weave  equal  the  horizontal  row  5  of  squares  in  the  motive. 
Picks  61  to  72  in  the  weave  equal  the  horizontal  row  6  of  squares  in  the  motive. 


Using  two  or  more  colors  in  Warp  and  Filling  for  Producing  effects  in  Fabrics  inter- 
laced with  Broken  Twills. 

In  Figs.  256,  257  and  258  we  illustrate  three  examples  of  effects  produced  upon  broken  twills 
by  various  arrangements  of  colors  in  warp  and  filling.    In  Fig.  256  the  common  3  j  4-har- 

□■■□■□□■□□□□□□□□□□□□□□□a 

BB  BB 

B      B   II        'BEI  i  HH      BE   <  EB 
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•  □□■■□□■■□□□□□□□cjcnnnGL:na 

;        E3E3         :      BB      EE    :  BE'  1  EB 


BBB           E      i  E        S                                            BBB         EB      vB   ;  EB  EE 

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'  .            E'        E     •    E                                            TEE'.'     El    I  El'     El  G  EE 

EE   ■        E    '     B         E                                               BB    :  .:  EB'     EB:  i  El  EE  Z 
-E      ■  E        E                                                           EB      EB-  '  EB 

E        •:•                                                                 EB      EB      EB  □□□§!  DI 

E!  '  <  E:     :  -S                                            :  BE  -  -  ■  Bl  :f  EB!  [  BB  GGCBBGGC 

BE    '     '  E'  i     Bl     :  B                                            I  BB    '     EB    \  EB    '  EB  EE   •  .   :  '  .EE1  '  EE      EE:  .  EE 

[•|.fn?iMBi  •(■!  bs'-!!'-b                                              '     '  :  EB'  :  EB   I  EB  □□□■S      '  BJBJ   BBI  Bl  il     I  Ef^HBH 

ailOiilBIIiffllilH                                       □■BDBBBHBBBHBBl'  COCllBGCGIdl  iBBI  li  1BBSBBBBBBB 

Fig.  256.                                    Fig.  257.  Fig.  258. 

ness  broken  twill  is  shown  arranged  for  3  ends  light,  1  end  dark,  or  color  No.  1  and  color  No.  2,  in 
warp  and  filling.    The  effect  obtained  is  a  "  hair-line,"  very  extensively  used  in  the  manufacture  of 

worsted  and  woolen  trouserings  by  reason  of  the  clear  and  distinct  line-effect  this  weave  produces. 


56 


Fig.  257  illustrates  the  same  weave  (4-harness  broken  twill)  arranged  for  three  different 
colors.  Arrangement  for  warp  and  filling:  2  ends  light  or  color  No.  1;  1  end  medium  or  color 
No.  2;  1  end  dark  or  color  No.  3. 

Fig.  258  illustrates  the  8-harness  broken  twill  (broken,  warp  and  filling  ways,  every  four 
threads),  arranged  for  2  ends  light  to  alternate  with 
2  ends  dark, 

4  ends  in  repeat  of  color  arrangement  and  8  ends  repeat  for  weave  and  effect. 


II.    Steep-Twills  or  Diagonals. 

The  next  sub-division  of  the  common  or  regular  twills  are  the  steep-twills,  which  are  derived 
from  the  latter  by  using  either  every  other  or  every  third,  fourth,  etc.,  warp-thread  in  rotation  for 
forming  the  weave. 

1st.    Steep-Twills  having  6j°  grading 

are  obtained  by  using  every  alternate  warp-thread  of  a  common  twill.    To  illustrate  their  method 

of  construction  Figs.  259,  260  and  261  are  designed. 

Fig.  259  illustrates  the  regular   16-harness  twill, 


■■■■■B 

■        1  J  II 

BBBBB J 

■  ■ 

□BJUBBBBBB 

■  B 

■  ■■■■■■■ 

B  :  J 

■■■■ana 

B  B 

■■■■■■■ 

B         B  j 

■■■■■■■□□I 

b  : 

■■■■■■  J.  ■ 

B  B 

■■■■■j  ■  . 

B  BB 

■■■    ■  ■ 

■■ j  ■  :  ■ 

■■■■■■ 

18 

a  2" 

Fie. 


B    B  BBB 
BBBB 


Fig. 


259- 


260  represents  the  same  weave,  every  other 
warp-thread  indicated  by  a  different  kind  of  type. 

Fig.  261  illustrates  the  steep  twill  or  diagonal  weave 
as  obtained  by  using  only  warp-threads  shown  in  Fig. 
260  with  m. 

This  example  of  constructing  a  steep  twill  out  of  a 
regular  twill,  which  has  an  even  number  of  warp-threads 
for  its  repeat,  will  also  explain  that  the  former  requires 
only  one-half  the  number  of  harness  that  are  used  in 
the  foundation  weave. 

Thus  the  present  example — 

16-harness  for  regular  twill  only  requires 
8-harness  for  its  corresponding  steep  twill. 
If  we  construct  a  steep  twill  out  of  a  regular  twill  which  has  an  uneven  number  of  harness  for 
its  repeat,  the  same  will  not  be  reduced  as  in  the  case  with  an  even  number.    Thus,  9-harness  in 


id  :■    .  a  :sbsbsbs 

*  B*B*B*BJ 

■' .  .  a  iffiBffiBfflBffl  ]□ 
□□  iffl ':  ■•2b*b*b  1  a 

□□■  .  DfflB.aBfflB.ffi  B  I 
□ffljr.B!SBfflBSB  .  S  , 
B  :   *B*B*B*  B 

B*B*B*B  -   S  ffl 
•>BvB->B>      a  B 
BffiB*BvB 

BffiB*a*  a  ■  * 
1:1:1    •:•      *  ia 


■fflB-jUffl: 
a-:-  b 
'  a  a  


:  BtSBffi 

•:•■■:•■>:' 

IffiBfflBffi 

16 


I  B  BBB.  B 
[  i    BBBB  j 

□BBBBCQD 

:  bbb  a  a 

BBBCUCCB 
BB  IB   B  B 

■■□□□□bb 
b  a  a  bb 

B    !  BBB 

K.|  B    I  III 
□□□□BBBB 
B   I  III 
□□□■■■■□ 
[■■■■_■ 
[  :  BBBB 
I   III  I 
(■III. 
I  BBB    B  B 

bbb  a  a  : 

■■■□□□□■ 

■■□■□■□■ 
bb:  bb 

B   B   B  BB 

!■□□□□■■■ 

Fig  261. 


Fig.  260. 


1  11 

□□□■1 


BBBBB 

wnnnfflnanE 

BBffiBfflB 

a  bb 

■  III 

□□■□□□■fe 

BBffiflffiJ 

B  BBB 

■»■□□ 

r  v  EBBF 

.-B-:-B  '  1 

B  BBBB 

S3BBS 

■□□  .BSBE 

««.□□□ 

BBBBB 

□□□fflBfflBE 

m  :  i  a 

Bn^'DfflD 

BBBBBB 

□□BfflBfflBE 

If Bill 

a 

□fflBffiBffiB 

a_:_] 

BBBBBB 

a 

avBva-: 

.a 

BBBBB 

a  a 

ivivi  :  . 

B  B 

aaaa  a 

BB 

BfflBS  E 

a  aa 

mi  a 

□□BBB 

BffiB  .  B 

BfflB 

bb    ,  a  .. 

..BBBB 

ufs  in  ]fn~ii 

i  >:<■-:-■ 

BBBBB 

13 

m.-. :.  .b  .  .  :BffiaffiB 

1  13 

Fig.  262. 


Fig.  263. 


BBB 

'BBB  I 
IBB..  . 
IBB  B 


Fig.  264. 


the  regular  twill  requires  9-harness  for  the  steep  twill.  Again,  11-harness  regular  twills  require 
il-harness  for  the  repeat  in  their  respective  steep  twills,  etc. 

For  example:  we  give  in  Fig.  262  the  regular  twill  known  as  6  3 1  3.    13-harness  repeat. 


57 


Fig.  263  illustrates  again  the  analysis  of  the  same  with  the  view  of  constructing  its  respective 
"steep-twill,"  which  is  illustrated  in  Fig.  264.  An  examination  of  Fig.  263  shows  warp-threads 
I  and  13  indicated  by  the  same  kind  of  type;  so,  in  constructing  the  steep-twill  after  using  warp- 
thread  13  of  the  common  twill  for  warp-thread  7  of  the  steep-twill,  we  must  use  warp-thread  2  of 
the  common  twill  for  warp-thread  8  of  the  steep-twill,  and  so  on,  until  warp-thread  12  of  the 
regular  twill  forms  the  last  warp-thread  (13)  in  the  repeat  for  the  steep-twill. 


■  ■ 

■  ■ 

«□□■□□■ 


Fig.  265. 


1   ■  ■■ 


□  ■■□  bb 
m  mmm  mm 

mm    mm  . 

mmm  mmm 
bb  bb  ] 
■■■  ■■■  i 

■  bb  a 
■■  ■■■  ■ 

■■  ■■ 

■  ■■■  ■■ 

■■  bb 

■■■  ■■■  ] 

■  ■■  H 

Fig.  266. 


■  ■■  ■  ■■ 

□  ■■■  ■■■ 
■  ■■■■■] 

i         ■■■  i 

BB    B    BB  ■ 


■■■    :  ■■■ 
[  ■  :■■     ■  ■■  i 
■■■      BBB  1 

■   "■■   ;    ■  ■■ 


B  BB  B  BB 

■■■  .  ■■■  ] 

■■  ■  ■■  a 

■■■  ■■■ 
■■  B  BB  B 

■■  ■■■  .  ■ 
■  ■  ■■  ■  ■ 

Fig.  267. 


■■ 

■  ) 

1-  ■ 

- 

m 

m 


m  mm 

8115 


■■■  j 

■■    ■  : 
■    ■         ■  ■ 


bb 


Fig.  268. 


These  two  examples  will  easily  demonstrate  to  the  student  the  great  amount  and  variety  of 
steep-twills,  630  grading,  which  can  be  constructed  out  of  the  common  or  regular  twills  of  45 0 
grading. 

Weaves  Fig.  265  to  276  illustrate  a  few  of  the  steep-twills  most  frequently  used. 
Fig.  265  illustrates  a  3-harness  steep-twill  (630)  derived  from  the  regular  twill,  2  2  1  lt 
Repeat :  3  harness  and  6  picks. 


1 .  1 
i  ■■ 
■1 
■■ 


bb  bb 

\m  mm  i 
1  bb 
1  ■■ 


Fig.  269. 


— B-B-M 

CBDB^BBB  ■  ■  ■■■ 
■    ■   ■■      ■    ■    ■■  ] 


□■□■DC 

■  mmm 

■□■■□[ 


E   I    I    HI    I    I  11 

Fig.  270. 


IS    ■■■        ■■  ■■■ 

■■■  ■■      ■■■  j 
1  ■■■  7::  ■■  ■■■ 
mmm  ■■  . .  ■■■  ■ 
■■■  ■■■  j 

ibb  ■■     bbb  bb 

■  ■■        ■■  ■■■ 

■  ■    ■■        ■■■  ■■ 
IB        ■■   BBB  ■ 
I   ■■        BBB  BB 

1  _;  ■■  ■■ 
.  ■■    .  bbb  bb  . ,  j 

■■  ■■■  '."]_.:■■  ] 


bbh:bb 

Hi  I 


Fig.  271. 


Fig.  266  represents  the  4-harness  steep-twill  (63 °)  derived  from  the  regular  8-harness  twill 
■~     Repeat :  4  harness  and  8  picks. 

Fig.  267  illustrates  the  5 -harness  steep-twill  (63  °)  derived  from  the  regular  10-harness  twill, 
— 2.    Repeat :  5  harness  and  10  picks. 


I   IBII   USD    I    IIIB  HID 

c:mm  n  mm    mm  .  mm  .  mm  '  ■■ 

■  mi  mi  ■  ■■■■  ■■■■  ] 
mm    mm  :  mm     mm    mm    mm  : 

111   1    ■■■■   REBI  n 

mm  am  mm  .  mm  mm  mm  '  : 
■■■■■■■■  ?m  mi 

■  II      BI9  1  JBB  ,   Bm  ■ 

■■■  ■■■b  ■  wmmm  ■■■■  m  m 

1    mm    mm  :  .11    bd    ■■  bb 

BB   BBBB _B   BBBB   III!   I  BB 

□  BB      II      II  J!  BB  "   II      BB  ] 

1  ■■■■  ■  ilia  ■■■■  b  mmm 

mm  :  bb    rb    bb  :  bb  .  bb 

BBBB    B    BBBB    BBBB    B  _ BBBB 


□n 


BB 


BB  .  BB 

■BGBZ1BBBBDBBBBDBGBBBBDBB 
■BjnBBaGBBaDBBDQBBnDBBGD 
BZB   BflBB   BBBB    B  .BBBBGBBB 


BBB    111    III    III  BBB.BBB 
I     BB  _      BBBB  :      BB        BBBB J 
Bl    BBS    BBB    BBB    BBB    BBB  B 
'  BB        BBBB         BB  BBBB 
B   BBB   BBB   BBB   BBB   BBB  BB 
BB         BBBB         BB  BBBB 

BBB  BBB  BBB  BBB  BBB  BBB 
B  .  BBBB  .  BB  ;  BBBB  B 
IBB    BIB   BBB    BBB   BBB   BBB  J 


BBBB  :      BB         BBBB  BB 

BGBBBZBBB  .BBBDBBB  BBB  BB 
BBBB  BB I  BBBB  BB 
BBB  BBB  BBB  BBB  BBB  BBB 
BBBB  BB  BBBB  BB 
BBB  BBB  BBB  BBB  BBB  BBB  ! 
BBB..  :  BB  BBBB  BB  B 
■B  BBB  BBB  BBB  BBB  BBB  B 
BB  BB  BBBB  BB  BB 
B  III  III  BBB  BBB  BBB  BB 
lIQDGHDODHUDD^HUuGIIB 


Fig.  272. 


Fig.  273. 


Fig.  268  represents  the  6-harness  steep-twill  (630)  derived  from  the  regular  12-harness  twill, 
2^-4-    Repeat :  6  harness  and  1 2  picks. 

Fig.  269  illustrates  the  7-harness  steep-twill  (63 °)  derived  from  the  regular  7-harness  twill, 
 3.    Repeat :  7  harness  and  7  picks. 


58 


Fig. 


i     2  2 

2      2  3* 

Fig. 

6      1  1 


2      1  2 

Fig. 

4      1  2 


270  illustrates  the  8-harness  steep-twill  (63 °)  derived  from  the  regular  16-harness 
Repeat:  8  harness  and  16  picks. 

271  represents  the  9-harness  steep-twill  (63 °)  derived  from  the  regular  1 8-harness 
1       Repeat:  9  harness  and  18  picks. 


1    1  1 
Fig, 
7    1  1 


272  illustrates  the  12-harness  steep-twill  (630)  derived  from  the  regular  24-harness 
2141       Repeat :   1 2  harness  and  24  picks. 


2    1  1 


273  represents  the  12-harness  steep-twill  (630)  derived  from  the  regular  24-harness 
2  1  2  x  1  x  1       Repeat :  12  harness  and  24  picks. 


twill, 
twill, 
twill, 
twill. 


]■■□■■■■ 

IGBBGBBG 
IBGBBBBG 
!■■□■■□□ 
IGBBBBGG 

IBGBBGGG 


■   ■■   ■■■■  B 
■    ■■    BB  ■ 
B    BB    BBBB  B 

r  b  bbbb  :  ::;  a  : 


III  B      B    BB  B 

BB  B      B    BB  ] 

BB  Bfl    BB  BB 

B  fl      B    BB  B 

^□□■□□■□■■□■■a 

i  14 

Fig.  274. 


snannnaaanDniDiB 
□□naDBBGanaaaaa 

B         BBB         B    BB'  ] 

□□■□■■□■□□□■■■a 
□□□■■■□□□■□■■□a 
□■□■■□■□□□■■■□a 
□□■■■□□□■□■■□■a 

■■■□□□■□■■□■□□a 
■■□■□□□■■■□□□■a 

■□■□□□■■■□□□■□a 


32QOBGGBOGBBOBBOBB 
B         BBBB  BBBB 
I'M     fl      BB   BB  II' 

□gbgggbbbb:  bbbb  1 
i    b    bb'  bb^  bb  1 
i  b     bbbb  bbbb 
[  i j  ii  ii  bb  b 

fl     :    BBBB  BBBB 

lb::  ■■  bb.  bb  :  b:  : 
■iii  bbbb  b 

BGGBBGflBGBBGGBGG 
BBBB    BBBB         B  ' 
[     II    II    II      I  .1 
BBBB    BBBB  B 

OBBGBBGBBOQBOGBQ 
BBBBGBBBB'  ■>  '  I  ,  J  J 

■■aiiaBBaaBGGBaa 

III   III!         B  B 

BGBBGBBGQBGGBGGB 
Bfl  BBBB  B  BB 
BB  .BB  B  B  BB 
I.  Bflflfl  GBG  :  BBB 
IB  Bfl  B  . B  Bfl 
'  BBBB  B  .BBBB 
I   II      I      I      II  D 

■■■■:::  :>  ■      ■■■■  : 

[  BB  1GBGGB  BB  BB 
BflflGG  'fl.  i     ■■■■  ■ 

BBGGBGGBGGBBGBBG 
BBQQQBGG!.  Bflflfl1.:  BB 
■ill  ■  ■■  ■■  ■ 
1BGGGBGGGBBBBGBBB 


Fig.  276. 


Fig. 

5      2  2 


111 

Fig. 


Fig. 

5      2  2 


Fig.  275. 

274  illustrates  the  14-harness  steep-twill  (630)  derived  from  the  regular  28-harness  twill, 
2  2 1  2 1  2  1  s-    Repeat:  14  harness  and  28  picks. 

275  represents  the  15-harness  steep-twill  (630)  derived  from  the  regular  15-harness  twill, 
Repeat:  15  harness  and  15  picks. 

276  represents  the  16-harness  steep-twill  (630)  derived  from  the  regular  32-harness  twill, 
5  4  1  2  1  2  1  4.    Repeat:  16  harness  and  32  picks. 


2d.    Sleep-Tzvills  having  a  grading  of  yo°. 

These  twills  are  derived  from  the  regular  twills  by  using  every  third  warp-thread  in  rotation  for 
the  construction  of  the  new  weave.  To  give  a  clear  understanding  diagram 
No.  277  is  designed.  A  represents  one  repeat  of  the  regular  twill  known  as  the 
4  t  1  2  8-harness  twill;  B  illustrates  the  drafting  of  the  different  warp-threads 
according  to  previously  given  explanation  for  forming  C}  the  new  design. 


1  1  3.  h.  5.  f>.  7. 8. 


— 

— . 

i 

8. 
7 
6. 

*  A 
V. 
3. 
Z. 
i. 


-■rr.n 
1  1 


1  ) 


GGGflflfl'  B 
r  :  flflfl  fl  ] 

GBBflOflGG 
BBBGBGGG 
■  fl    ■  E 

ibcbcggbb 

Fig.  278. 


i-Cri 
BGI 

C 


C 


mu 


I  Z.  3.  H.  5.  6.  I  8. 
Fig.  277. 


■■ 

lbgbg: 

■  'CBBGBG 

aar  ■[  :■!  ;□ 
1bgbcgbbg 

Fig.  279. 


lOGGGBGaGBBB 
QQBOGQBBBQ 
QBQGGBBBQD 
BGGQBBBQQG 
QQQBBBGGDB 
□GBBBGaGBD 

nBBBaaaBaa 

BBBGQGBGQD 
BBGGGBGGGB 
aBGDGBGGGBB 

Fig.  280. 


□BGBC1GBGGB 
I  fl  BGBGGfl 
□GBGGBGBGB' 
BGBGGBGQBCI 
QBGBQBGQBG 
GBGGBGBGBG 
QBQGBGQBGB 
BGBGBCGBGG 
BGGBGBGBGG 
,  BGGBaaBGBn 
lOaBaBGQBDGB 
CGBQBGBGGB 
□GBGGBGBGB 
BGBQGBQQBG 
QBGBGBQGBG 
QBCGBQBQBG 
QBGQBQQBCB 


aBGaBOGBOBG 

Fig.  281. 


12GGGBQQQBBBBB 
QGBGQGBBBBfl:: 
□BaGGBBBBBaa 
B  .  :  BBBBfl  "J 
GGGBBBBBGG  ■ 
□GBBBBBCGGfl  : 
GBBBBBGGGBGG 
BBBBBGGGBGGG 
■■■■  ■  □ 
BBB     ■    fl  ■■ 

■■      ■  ■■■ 

lflGGGBGGGflflflfl 

Fig.  282. 


□BGBGBGB 
GGBBGGBB 
GGBBGGBB 
BGBQBGBG 
GBBGGBBG 
GBBLJGHBG 
■  ■  B  B 
BBQQBBGG 
BBOQBBGG 
BGBGBGBG 
BGGBBGGB 
■  ■■  ■ 
12GBGBGBGB 
GGBBGGBB 
GGBBGGBB 
BGBGBGBG 
GBBGGBBG 
GBBGGBBG 
QBGBGBGB 
BBGGBBGG 
BBGGBBGG 
BGBGBGB  .! 
BGGBBGGB 
1  BGGBBGGB 

FiG.  283. 


Arrangement  of  drafting:  1,4,7,2,5,8,3,6.  Repeat :  8  harness,  8  picks. 
Fig.  278  represents  the  regular  twill  known  as  8  3  1  v  and 
Fig.  279  represents  the  steep-twill  (700)  derived  out  of  it.    Repeat :  8  harness,  8  picks. 
Fig.  280  the  regular  twill  3  3  1  a  is  shown,  arranged  for  a  700  steep-twill  in  Fig.  281.  Repeat; 
IO  harness,  10  picks. 


59 


Fig.  282  the  regular  12-harness  twill  5  3  1  3  is  shown,  arranged  for  its  700  steep-twill  in 
Fig.  283.    Repeat:  4  harness,  12  picks. 

Fig.  284  illustrates  the  regular  15-harness  twill  5  2  2  2  2  2,  and  Fig.  285  the  700  steep-twill 
derived  out  of  it.    Repeat:  5  harness,  15  picks. 

Fig.  286  represents  the  700  steep-twill  designed  out  of  the  regular  twill  6  8  1  3  (shown  in 
Fig.  262,  page  56).    Repeat:  13  harness,  13  picks. 

Fig.  287  illustrates  the  steep-twill  having  700  grading,  which  is  derived  from  the  regular 
twill 7  2  1  3  1  2  (see  Fig.  259,  page  56).     Repeat:  16  harness  and  16  picks. 

»  .  ■■■■■  -  ■■  ■■ 

......  .  :: 

.  :: 

■■  .  "■■  a  i  r   .■  ■■ 

:  .  mm    mm    mm  .....    ..      ..  i  ) 

ma  m  mm  .  ..  i ...  :  .....  .. 

■  ■_]■■■":■  .  ..    ..  ■  ..  ( mm      mm    ■■■■■  i 

...     ...  .  ..  :  ..  ;  ..  :  ....  ...      a.  1  ■ 

...  '  ...  '  a.    .....  ■■ 

......  a.    .a  a  mm  \  mm      mm    bbbbb  ;  i 

BBGGBBBOLIB  BB      BB      BB    B  BBB      BB        BB  BB 

BBBCZICDBBBCZD  ..   .    BB  B      BB...      BB  B 

BDBBDBDBBn  BB     ...   .   ..  j  B        BB      BBBBB  i  i. 

.      BBB  :    BB  BB     ...      ■■   B  i  ..  ~ r  BB        BB  ... 

BBGGBBBGGB  BmB   BB  .   ■■      I  1<>     ...BB  .   BB  BB 

B.      B.     'BBBBB                              ......  BQ  ...   B   BB     B  ..      .....  i  .. 

..      BB      BBBBB  ]                             GGBBBGGBBB  B      BB     BB  B:.1B  I      II     .    BB  BBB. 

BB      BB      BBBBB                                  ■      ...      BB                             '     B    BB      BB      BB  BBBBB      BB  BB 

B  ~  .BB      BBBBBTJB                             BB    B    BB    B  BB    B    BB      BB  BB      BBBBB  BB 

□□BB      BBBBB j^BB                             □...□□...□  ..      ..    .    ..  □  B.  ;  3  BB  BBBBB 

;  BB      BBBBB      BB                               GGBBBGGBBB  B'  BB      BB  <   BBL1  BBBBB      BB  BB 

BB      BBBBB     'BBGG                           BGBGBBGBGB  GBBOBOBB'TMBG  BB     .....      ..  ~ 

BGGBBBBBCG.BOCB                             ■■■■■■ !□  BB      BB    B    BB  BB        BB      BBBBB  - 

:     BBBBB  !   II  ][  BB                           GBBBGGBBBG  .Bflfl      ..  ..  B 

[  .....      BB      BB  ]                               B    BB    B    BB  ■■□■□■■□□■■..]□  B.  ;   .....  BB 

■■III      BB       BB                                    BBGGBBBGGB  BB      BB    B    BB  BB         BB  BBBBB 

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1  15  1  5  1  13  1  10 

Fig.  284.  Fig.  285.  Fig.  286.  Fig.  287. 

These  few  examples  (Figs.  277  to  287)  will  easily  explain  the  method  of  construction  for 
these  weaves;  we  would  only  add  that  if  the  number  of  harness  in  repeat  for  the  regular  twill 
can  be  divided  by  3,  the  number  of  harness  in  repeat  for  the  steep-twill  will  be  reduced  one- 
third,  as  follows : 

12-harness  regular  twill  to  4-harness  steep  (700). 

15  "         "        "5  " 

18      «  "         "6     "         *         "    etc,  etc. 

Any  number  of  harness  repeat  for  a  regular  twill  which  cannot  be  equally  divided  by  3 
requires  the  same  number  of  harness  for  the  steep-twill  as  is  used  in  its  foundation  twill. 

3d.    Steep-Twills  having  a  grading  of  75 0 '. 

Weaves  of  this  sub-division  of  the  regular  twill  of  45 0  grading,  are  derived  from 
the  latter  by  using  every  fourth  warp-thread  in  rotation.  In  constructing  75 0  steep-twills  out  of 
regular  twills  having  a  number  of  harness  for  their  repeat  which  can  be  divided  evenly  by  four, 
only  one-fourth  the  number  of  harness  are  required  ;  for  example : 

12  harness  "  regular"  =  3  harness  "  75 0  steep." 

16  "        =4  " 
20       "  "  =5 

24       "  "        =6       "        "       "     etc,  etc. 

Again,  in  constructing  75 0  steep- twills  out  of  regular  twills  having  for  their  repeat  an  even 
number  of  harness  not  called  for  in  previous  rule,  the  number  of  harness  required  is  lowered 
one-half ;  for  example  : 

14  harness  "  regular"  =    7  harness  "  750  steep." 
18  "        ==   9  " 

22  "        =11  " 

26       "  "        =13       "        "       "      etc,  etc. 

These  two  given  rules  will  readily  explain  a  third,  as  follows: 

Every  regular  twill  of  an  uneven  number  of  harness  for  its  repeat,  if  used  for  the  construction 
of  a  steep-twill  of  75  0  grading,  requires  every  warp-thread  of  the  former  used ;  or  in  other  words  : 


60 


Steep-twills  of  75  °  grading,  constructed  out  of  regular  twills  having  an  uneven  number  of  harness 
for  their  repeat,  require  an  equal  number  of  harness  for  the  former ;  for  example  : 

9  harness  "  regular"  =    9  harness  "  75 0  steep." 


1 1 

15 


i  2  3  V  5  6  7  8.9.10.11 1*13 .11 .15 


B. 


C. 


1-1 


1  I  3  4  5  6  7  8  B  10.11 .15US.14.1S 


Fjg.  28S. 


=  1 1 

=  13 


To  give  a  clear  understand- 
ing of  the  construction  of  the 
750  steep-twills,  diagram  288  is 
designed,  illustrating  under  A 
one  repeat  of  the  regular  twill* 
fi  4  1  4  =  1 5  harness. 

B  illustrates  the  drafting  of 
the  different  warp-threads  (after 
rule  given  at  beginning)  for  form- 
ng  C,  the  new  design. 

Arrangement  of  drafting : 
1,  5,  9,  13,  2,  6,  10,  14,  3,  7,  11, 
15,  4,  8,  12.  Repeat:  15  har- 
ness, 15  picks. 

Fig.  289  represents  the  regu- 
lar twill,  6  4  2  4  for  16  harness 
repeat. 

Fig.  290  shows  its  750  steep- 
twill  derived  by  drafting  1,  5,9, 
13.  Repeat:  4  harness,  16  picks. 

Fig.  291  illustrates  the  steep- 
twill  of  750  grading  which  is  de- 
rived from  the  regular  twill  of 
450  grading,  VV  =  *3  har- 
ness. (See  Fig.  262,  page  56.) 
Repeat:  13  harness,  13  picks. 


etc.,  etc. 


!<;□□□□■■□□□□■■■■■■ 

□□□□■■■■■■□□□□■a 

□□■■■■■■□□□□■■□a 
□■■■■■■□□□□■■□en 

■■9HHH  ■■ 

■■■■■      ■     UK  _  ■ 

■■■■           ■■  ■■ 

□  ■■■ 

1  10 

Fig.  289. 


!  HI      HB  B 


Fig.  290. 


□□■■■■■^CB!3lB 

■■□□■□□■□□■■a 

■□□■□□■■■■■□a 
■■■■    ■    ■  ■ 

■■■■■    .  ■  ■ 

□□■□□■■■■■□□a 
□□■□□■□□■■■■a 
■■■□□■□□■□□■a 
■■■■■  ■ 

■     ■  ■■■■■ 

■■■■■    ■    ■  : 

■  ■■■■■  ■ 

■  ■  n 


Fig.  291. 


III.    Reclining  Twills  (270  grading). 

This  sub-division  of  the  regular  twills  has  its  principle  of  construction  very  nearly 
related  to  the  ones  given  regarding  the  steep-twills ;  in  fact,  points  given  in  the  latter  as  to 
warp  will  apply  in  the  present  sub-division  of  twills  to  the  filling.  Therefore  in  constructing  a  twill 
of  270  grading  out  of  a  regular  twill  of  45 0  grading,  we  only  use  every  alternate  pick  of  the  latter. 
For  example,  Figs.  292,  293,  294,  295,  296  and  297. 


□□□□■■■■□□□□■■I — 

l ~  :  ■■■■(  .J 
■■■■  ■■■■ 


Fig.  292. 


Fig.  293. 


Fig.  294. 


Fig.  292  represents  the  regular  8-harness  twill 


—j.  Fig.  293  illustrates  the  same  twill 
analysed,  every  alternate  pick  indicated  by  a  different  style  of  type.  Fig.  294  represents  the  new 
weave,  derived  from  weave  Fig.  293  by  using  only  picks  1,3,5  and  7.  Repeat:  8  harness  and 
4  picks. 


61 


Fig.  295  represents  the  regular  twill 
is  the  reclining  twill  derived  from  the  latter 


i  1 

2 


—2  =  9-harness.  Fig.  296  is  its  analysis.  Fig.  297 
Repeat :  9-harness  and  9  picks. 


■  ■■     ■  :  ■ 


■■■■ 
■■■  ■ 

I  B 
■  ■■ 

■  ■■■ 

■  ■■■  I 
IB      ■  I 


■  ■■■      ■      ■  ■ 


Fig. 


297. 


Fig.  295.  Fig.  296. 

These  two  examples  will  clearly  illustrate  the  method  to  be  observed  in  designing  reclining 
twills  for  any  number  of  harness.  Regular  twill  weaves  with  an  even  number  of  picks  in  repeat 
reduce  to  one-half  the  number  in  the  reclining  twill ;  again,  regular  twills  with  an  uneven  number 
of  picks  for  their  repeat  require,  if  changed  to  reclining  twills,  the  same  number  of  picks. 


450 


Diagram  for  illustrating  the  construction  of  steep  twills  of  520,  630,  700  and  750  grading, 
and  reclining  twills  of  380,  270,  200,  and  150  grading. 


62 


IV.    Curved  Twills. 

This  sub-division  of  the  "  twills  "  is  derived  by  a  combination  of  "  regular"  45 °  twills  with 
63°,  700  or  750,  or  similarly  graded  "  steep-twills."  One  kind  of  these  twills  is  run  for  a  certain 
number  of  threads,  after  which  the  run,  without  forming  an  interruption,  is  changed  to  the  other 


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450  twill.        630  twill. 


Fig.  298. 


45°  twill.       630  twill. 

Fig.  299. 


system.  The  same  twill  which  is  used  in  45 0  must  also  be  used  in  the  construction  of  the 
steeper  twills. 

The  following  few  designs  will  clearly  explain  the  method  of  constructing  curved  twills. 


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1  8  16         20         24  32  40  44 


45°       63°  4SC 

Fig.  300. 


63o 


Fig.  298  illustrates  the  curved  twill  obtained  from  the  3  §  twill.    8  warp-threads  are 

designed  in  the  regular  45 °  twill  and  8  warp-threads  in  its  630  steep-twill  —  16  warp-threads 
repeat.    Drawing-in  draft:  16-harness  straight  draw  or  6-harness  section  draw. 


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Fig.  301. 


Fig.  299  illustrates  the  curved  twill  obtained  from  the  4  :.  twill    8  warp-threads  are 

designed  in  the  regular  45  °  twill  and  8  warp-threads  in  its  63 0  steep-twill  —.16  warp-threads 
lepeat.    Drawing-in  draft:  16-harness  straight  draw  or  8-harness  section  draw. 


63 


Fig.  300  illustrates  another  curved  twill  obtained  from  the  -4  twill. 

Warp-threads    1  to   8  call  for  the  45°  regular  twill. 
9  to  16      "      "     63°  steep 
sffiSlS:"g§"  "         l7  to  20     "      "     45°  regular  " 

BSH:"i'2SS  "         21  to  24     "     "     63°  steep 

BgSSaySBgggSg  "  25  to  32      "      "     45°  regular  " 

^Fm      D"""  "  33  tC>  40      "       "      630  StCep 

IG*  3°2'  "         41  to  44      "      "     45°  regular  " 

Repeat  of  design:  45  warp-threads,  8  picks. 

Drawing-in  draft:  8  or  16-harness  section  draw. 

Drawing-in  Draft  for  13-Harness. 


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ggboqoqbgoogqqooqgooogoobqooooooqgqqoggobbqgoqgqgqoqooqqoggcbi:  

□□□□[]□□□□□□□□□■□□□□□□□□■□□□□□□□□□□□□□□□■□□□□□□□□□□□□□□□□□□□■□□□□□□□□□□■□□□□□□□□□□□□□□□[ 


■  mm  mm 

l         ■        •    ■       .:;).■:  ...   1  :■■    j  ■  ■  ■ 

□□□□□□□□□□□■□□□□□□naBaDnaDnaanaaGBnnGnDnDDDDDDnDDDDnnnBannGDDDnaaDDHDa          ■  ■ 
iBaGaaaaaaGGaGaGauaGaaaaaaaaaaaaaBaaaaaaaaaGaaaaaaaaGBBaaaacGLL..  ,  ■  — ,  


Fig.  303. 

Fig.  301  represents  a  curved  twill  with  87  warp-threads  for  repeat,  which  is  obtained  from  the 
regular  ^—3 — — % — — 2  13-harness  twill  (shown  in  Fig.  302)  according  to  draft  represented  in  Fig. 
303,  and  thus  will  readily  explain  itself,  as  the  drawing-in  draft  also  clearly  indicates  the  different 
grading  of  the  twill. 

V.  Skip-Twills. 

This  sub-division  of  our  regular  or  foundation  twills  embraces  the  weaves  in  which  the  twill 
line  does  not  run  continuously  through  the  entire  design.  In  their  general  appearance  these  rep- 
resent a  combination  of  parts  taken  from  a  regular  twill. 

They  are  designed  as  follows:  After  drafting  successively  2,  3,  4  or  more  threads  from  a 
regular  twill  for  the  new  weave,  skip  (or  omit)  I,  2,  3  or  more  threads;  draft  again  2,  3,  4  or 
more  successive  threads,  then  skip  again,  and  continue  in  this  manner  to  draft  and  skip  until  you 
get  the  repeat  for  the  new  weave. 

We  can  arrange  this  skipping  in  the  direction  of  the  warp,  in  the  direction  of  the  filling,  or 
in  both  systems. 

1  st.  Skip-Twills  in  which  the  Skipping  is  arranged  for  the  Warp. 
Fig.  304  represents  the  regular  4-harness  twill  -  3. 

Fig.  305  illustrates  the  skip-draft  reading  as  follows:  Take  two,  miss  one,  four  times  over;  or 
I,  2,  4,  1,  3,  4,  2,  3. 

GGBGBBnB  GGBBGBB~BB  B"~"B 

GBGQBGBB  ,■■■■.«.■  «r^__« 

BBGBGGBG  BB  :   ■      B      II   H  6GGGBBB 

BGBBGBGG  BGGBGGBB   BB  .■■     ;  LjjBBBG 

4GGBB  4GG^GGiiGG  4GGBGBBGB  4aaGBaaBGGgaaBaaa  •>      BB   BH   BB      ■      8  i  BBBQG 

BB  GGCG  !  .  .  I  QBGGBGBB  L    j  1  BB   BB      B      »      BB  BBB  .  ;  . 

BB  GBGGGG9G  BBGBGGBG  [  ;«dGGl  JGGGGG.-^I.-jGImJ  BB      B      B      BB    BB  BB  ■ 

1BJGB  ISGGHGGi: J  1  BGBBGBGG  lOaaaaaaBGGBQaBaa  IBG^B  BB_BB_BB__  .  1BGGGBB 

r     T  T  8  T  8  1  10  1  16  lb 

Fig.  304.  Fig.  305.  Fig.  306.  Fig.  307.  Fig.  308.  Fig.  309. 

Fig.  306  represents  the  skip-twill  derived  by  means  of  draft  Fig.  305  from  the  ?  r2  4-harness 

twill  shown  in  Fig.  304.    Repeat:  8  warp-threads,  4  picks. 

Fig-  3°7  illustrates  a  second  kind  of  skip-draft  for  4-harness,  reading  as  follows:  Take  four, 
miss  one,  four  times  over;  or  1,  2,  3,  4,  2,  3,  4,  1,  3,  4,  1,  2,  4,  I,  2,  3,  which,  if  applied  to  the 
4-harness  twill  -2  shown  in  Fig.  304,  will  produce  the  design  as  represented  in  Fig.  308. 

Repeat:  16  warp-threads,  4  picks. 

Drawing-in  draft:   Either  16-harness  straight  draw,  or  for  4  or  8-harness  with  a  section 


64 


Fig.  309  is  the  6-harness  -  3  twill. 

Fig.  310  represents  a  skip-draft  reading  as  follows:   Take  six,  skip  two,  three  times  over. 

This  skip-draft,  if  applied  to  the  -  3  twill  (Fig.  309)  will  produce  the  weave  of  a  skip-twill,  as 

shown  in  Fig.  311. 


^ozzzzmzzz 


□□□□□■□□□■□a 


:  — _b 

■■■  mmr      m  mm 

mmm  ■■ 

□□□■□□□BBB 

■■■  ■ 

.    ■■      ■■■  1 

mmz:    m  z 

m  mm 

>■       ■■■  ■ 

■■  l mm  z  m 

L    ■■■  ■■ 

□  III  BB 

mmm  ■■■  j 

Fig.  310.  Fig.  311. 

Fig.  313  shows  another  variation  of  the  skip-twill,  derived  from  the  common  twill  -3 

309)  by  means  of  skip-draft  illustrated  in  Fig.  312.  The  latter  reads  as  follows:  Take  three, 
skip  two,  six  times  over,  twill  from  left  to  right;  take  three,  skip  two,  six  times  over,  twill  from 
right  to  left. 


(Fig 


Repeat:  36  warp-threads,  6  picks. 


•  — "  :  -h  mm 

■  >.  ■  :  z  -- : :  -  zzzzr^-Z".  zmz 
zzzzz  z:z  izzz^zzzzzzzzzt-iz.  zmzcxzm 
z  zmzz  ~ . .  ,  r  -  .  .zzzztrzz zmzzizmzjzQ 
zmzzzmzzzzzizzzz^zzzzzfuzz^zzzMzzzjzro 
irj  , ...  ,^Z  _u  u  J 


■      ■    ■■  ■■■  ■■    ■      b    ■■  inn  ■■ 

□■■□□■□□□■□□■■□■■■□□□■r r IB 
■bb  bb  zm      m    mm  m    mm  mmm  mm  m 
mm  mmm  mm    m      m    mm  mmm  mm    m  m 
m     ■■  ■■■  ■■  ,  ■  ■      ■  bb 

Z  :     B      BB    BBB    BB      B    BB      B         B      BB  lit 

c  ■  a  ■■  in  mm  m  m  ■■■■■■■ 
rn  ■■  ■■■  _:  a    ■■  mmm  mm  m 

mmm  bb    a    •  m    mm  a    bb  bbb  bb  b 

BB    BBB    BB      B         B      BB    BBB    BB    .  B    .  B 

B  BB    BBB    BB      B         BBB    BB       B        B      ■■  . 


Fig.  312. 


Fig.  313. 


For  drawing-in  draft  use  skip-draw  shown  in  Fig.  312.  For  harness-chain  use  the  regular 
twill  shown  in  Fig.  309. 

In  Fig.  314  we  illustrate  a  skip-twill  derived  from  the  regular  twill  5  (7-harness)  by 

means  of  skip-draft  shown  in  Fig.  315.  Take  two,  miss  two,  seven  times  over,  forms  the  repeat 
of  this  skip  draft. 

Repeat  of  weave:  14  warp-threads,  7  picks. 


z.  mm    bb — ■  ■ 

IB  B  B  BB 
B      ■      BB  BB 

B     .11      BB      I  ] 
BB      BB      I      I  ] 
BB      B      B      BB  13 
I      B      BB      BB  ] 
■I      BB      B  B 
L_BB      fl      B  BB 
B      B      BB  BB 
B      BB      BB      B  J 

mm    mm  ■!□■□□ 

BB      IB    IBB  ;  ] 

^□□■□□■■□□■■□D 

Fig.  314. 


."□□□1 

□  □□□□"".□□□t^ll 

.  j 

r  i--.*-         —  —  r- \<~  immr-ii  


,  □■□□■□□□□□□□□□ 


Fig. 


315. 


r  '  BB'  '  BB        B     BBB'  B 

l  !.  b  1  bbb    b  .    mm  mm 

!     B      '  BB      BB         B  Zl  .BBB 

C  BBLJ.Vf  B  ][ 

Ill      B         BB      BB  B 

■  I      IB   1  !  I      III  '  I 
I.  .    Ill      I         II      IB  ' 

"L       IB      BB         I      III  I 
V .  .  BBB      B         II  Bl 

□  □■□□□■I1/    II         I'  III 

■I  I  III"  B  BB 
BBB      B         II'  'II         B  I 

■  I  1  BB:        B      III  I 

l  ■□□■■■□□■□□□■■□□■■□□□ 


Fig.  316. 


Weave  Fig.  316  is  derived  from  the  same  regular  twill  as  Fig.  314,  but  has  a  different 
drafting,  as  follows:  Take  three,  miss  two,  seven  times  over. 
Repeat  of  weave :  2 1  warp-threads,  7  picks. 


□a: 
a 

L  I 
■  I 


*■■■□■■■■□■■■□□■■□□□■ 

IB   HIBB    II 

■  h  ■■  ::bbb  BBBIIIII 

I    H  ,    B.  ;a   BB   aill  BIT 

la  a  a  m  a  bb  ::bbi 
1    bb::    b  a    a  a  bb 


H 

□□I 
L  Bl 


bb 


a  zz 


IBB  BBB  BBa  .  B  a  _B  a  BB  3BBBD 
IB  BBBB  BBB  BBa  B  a  B  a  BB  a 
I  aBBB  Bill  IBB     bb::  .  a  a     ■  a  J 

^□■■□□■■■□■■■■□■■■□□■■□□□■□□□y 


Fig.  317. 


□□■□□□□aanDDBDnnnHanngcEiDpnndo 

-=□□□□■□□□□■□□□□»□□□□□□□□ 


□□□□□□L   - 

□□□□□□□□□□□□■□□□□■□□□□BDDDDBLJDDa 
□□□□□□□□□□□□□□□□«□□□□«□□□□■□□□□■ 

•  j 

□□^□□□■□□□□□□l  I 
□■□□□□■□□□□!!□□□□□□□□□□□□□□□□«□□□ 
1  BDDDDgDaDDHDCDDiCDr  ~- 


Fig.  318. 


Fig.  317  represents  a  skip- twill  derived  from  the  8-harness 
shown  in  Fig.  318. 

Repeat  of  weave:  32  warp-threads,  8  picks. 


-j  by  means  of  skip  draw 


65 


Fig.  319  illustrates  the  skip-twill  derived  from  the  14-harness  ~ — r — — 5 — - — 3  regular  twill  by 
the  following  drafting:  Take  three,  miss  six,  fourteen  times  over. 
Repeat  of  weave:  42  warp-threads,  14  picks. 

Fig.  320  represents  the  skip-twill  derived  from  the  18-harness  3— — — s — 1—2 — 1—3  regular 
twill,  derived  by  means  of  the  following  drafting:  Take  three,  skip  ten,  eighteen  times  over. 
Repeat  of  weave:  54  warp-threads,  18  picks. 


^^□□■□□□□□■■■□■■□□□□□□□[•^■■□■■■□Br'r'  1 

a  mm  mmm  a      ■::    ■    ■■  a      ■■  ■ 

1                 ■  ■■          ■■     ■      ■  ■■ 

HO    ma     u  m                  ■■              a  ■■  ■■■ 

"■^■~n~i'irM~n~r"M_iii""~iM_ii  "H-"1    ■                       ■■  a  ■■  ■■■  a      «a    ■    ■■  : 

a  ■■    ■                      ■■  a    ■■  ■■■  a  ■■■  ■■             a  ■■  ■■■  a  an    ■    ■■  a      ■■    ■  ■ 

a  ■■■  ■■    a  ■■    ■      ■  ■      ■    ■■  a    ■■  ■■■           a    ■    ■■  a  ■■    ■      ■        aaaa  mm 

mm  mmm  a  mum  ■  ■■  ;  ■  ■  ■■  „  a  ■■  ■■■  a  ■: 
■    ■■  a    ■■  ■■■  a  ■■■  ■■    a  ■■    ■      ■  ■  1 


a 


■a    ■    ■■  a    :  ■■  .;  m      m    i    ::mum  ■■ 


■ 

■a 
i  ■■ 


a  ■■  ■■■  a.    '  aa    a    ■■  a      ■■    ■  ■ 

aa  aaa  a  irh  ■■    a  a      ■  ■      ■    ■■  a  ■■  ■■■  a      aa;    m  mm  a      ■■    ■      ■  ■■ 

■  a  aaa  aa    a  ■■    ■      ■  ■  i«  :  ■■  a      ■■    ■  ■        aaaa  mm    a        a  ■■  ita  a  aa 

1  4j  1  54 

Fig.  319.  Fig.  320. 


These  few  designs  for  skip-twills,  with  a  regular  exchanging  of  "take"  and  "miss,"  will 
readily  establish  the  rule  for  finding  the  number  of  warp-threads  required  for  one  repeat,  as 
follows : 

Multiply  the  number  of  harness  the  foundation  (or  regular)  twill  contains  (this  is  also  equal 
to  the  number  of  picks  for  the  repeat  of  the  skip-twill)  by  the  number  of  warp-threads  taken  in 
rotation  in  the  skip-draft  before  missing  a  certain  number  of  threads;  for  example  : — 

p.  f  number  of  harness  \  1 8  X    num^er  °f  warp-threads  taken  1   „    f  repeat  of  warp- 

lg-  3 20  ^  jn  foundation  twill  j  1       (       in  rotation  in  skip-draft       J  3  threads  in  s.  t. 

"    319  "  -  14  X  "  «'  3=42  "  " 

"317  "  "  8X  "  "  4=32 

"    316  "  "  7X  "  "  3=21 

«  u  «  7X  «  u  2=14 

The  next  step  for  figuring  skip-twills  is  that  of  arranging  the  skip-effects  produced  by 
the  warp  into  two  or  more  different  sizes.  In  their  general  principle  of  construction  these  kinds  of 
skip-twills  are  identical  with  the  ones  given  before.    Figs.  321  and  322  are  designed  as  illustrations. 


□OdHCJBBDMOB 
l  . ■  ■■■  ■  m 
<  mm  mm  *  * 
■■■  ■    *    ■  ) 

■■□fflDDDBSCBBn 
■         " ""  ■   ■■■  I 

0;  _  *  mm  mm  * 
■  ■■■  ■  "■  a 

:  ■■  ■■  a.  * 
■    a    ■  s 

a  ::;e  ■■ 
^□□^□□■□■■■a 

Fig.  321. 


r::rr®  ■■■■  a  *-i 
1  ■  ■■■  **  ■  1 
[  '■■  ■■  sssf  mm  1 
i  ■■■    ■  .    •:<<  mmm  i 

■■■■1 : fflLxn  m  :  eb 
■■■  ^53      ■    ■■■  ** 

■  ■      ESQ      ■■      ■■  .  E2E5 

■  a a   ■■■  ■ 

*    ■■■■    a  a  I 

■    ■■■  **      a  1 

r    ■■      ■■      E5E5      ■■  I 
■  ■■      ■        E3tS    ■■■  I 

■■■■  a        es  ■■■■  * 

■■■  fflS        ■     ■■■  ESQ 

■  ■     .E3S      ■■  ■■ 

'■        **   ■■■      ■  ESS 


ESEa 

E3  j 

I  ] 
I 


Fig.  322. 


Fig.  321  is  derived  from  the  regular  ^  6-harness  twill.    Arrangement  of  skip-draft  is  as 

follows:  Take  three,  skip  two,  take  one,  skip  two,  four  times  over. 
Repeat:  12  warp-threads,  6  picks. 

Fig.  322  has  for  its  foundation  the  regular  8-harness  twill  -4.  Arrangement  of  skip-draft: 

Take  four,  skip  three,  take  two,  skip  three,  four  times  over. 
Repeat:  12  warp-threads,  8  picks. 

A  further  process  in  figuring  skip-twill  is  found  in  arranging  the  skipping  in  the  direction  of 
the  filling.  After  taking  two,  three  or  more  picks  in  rotation  from  any  of  the  "regular"  45 0  twills, 
miss  one,  two,  three  or  more  picks ;  then  continue  again  to  take  an  equal  number  as  before, 
again  miss  a  certain  number  of  pic1<s,  and  proceed  in  this  manner  until  the  repeat  is  obtained. 


66 


Figs.  323  and  324  are  designed  for  illustrating  this  sub-division  of  skip-twills. 

Fig.  323 — repeat:  4-harness,  1 6  picks — is  derived  from  the  regular  4-harness  twill  -  2  in 

the  following  manner :  Take  four,  miss  one,  four  times  over. 

Fig.  324 — repeat:  8-harness,  24  picks — is  derived  from  the  regular  8-harness  twill  — — 2> 
as  follows:  Take  three,  miss  four,  eight  times  over. 

24BOOSJGGBBBOOaOOBB 

□□^□□■■■□□enaBBB 
nra  ■■■  a  ■■■.> 
■■  .  a  , . ■■■  a  ■ 
■  jnaa.jBManfflCDM 
1 :  :sb  ■■■  a  bbb 
■■■  a  ■■■  ]Gana 
■■    a    ■■■  ;  a  ■ 

BGGffiL:  .BBB  SGGBB 

□■■■□□^□□■■■□□ffln 

bggbbggb  ■■□□a  ,.  ■■■    a  ■ 

bbb    ia    ■■■  a 

gbbbj  H'  jjmjosa 

■  ■  ffiG    ■■■  GSG3 

ggbbggbb  a    ■■■    a  ■■■ 

n  a  ■■■□□a 

BBB  .   a  I   ■■■  juBG 

ggbbggbb  ca_]  Ban    a  •  ■■■ 

a    ■■■  i  ;a_ii 

bob    a    bbb  a 

GGSGGBBBaasaGBBB 
(  a  .  ■■■  :  .a 
xaGGBBBGGfflaaBBBGG 

14  18 

Fig.  323.  Fig.  324. 

The  rule  for  finding  the  number  of  picks  necessary  for  one  repeat  of  design  is:  Multiply  the 
number  of  harness  in  repeat  by  number  of  picks  taken  in  rotation  before  skipping.  The  result 
will  be  the  number  of  picks  necessary  for  one  repeat  in  design ;  for  example : — 

Fig-  323 — 4  (number  of  harness)  X  4  (picks  in  rotation)  =  16  picks  in  one  repeat. 
«    324—8       "  "        X3      "  "        =  24  " 

24nnnsfflfflDBnanBnDDfflfflanBnanB 

GGEBfflfflGBGG   EH  31  aafflGBGGGBB 

c" .aaa  a  ]  ■■■  aaa.  :m. :.  v  bbb 
aaa  a a  bbb  aaa  aa  bbb  ) 
eai.^aaa  bbb  \  ,aa^  .aaa  bbb  :.  ] 
auaaa  bbb  i  na<  :aaaL;BBBGGD 
isnmBBBGBBBanBBDanB  a      a      aaanB  :    b  l 

GGBBB  .BBB  .  GBGGGBB  B  !G   BB      aaa    B        BB  " 

I  BBB     BB         B  .      BBB  G 


bbb      a      bb    bbb  g  bbb  iaaaaaa  '  bbb  aaa  aa 

BB        B         BBB    BBB  I  GBBB  .]  !HS Jfflfflffl    BBB  .   aa  aaa 

b  ;    bb    bbb  bbb      i  i  bbb  i  1  a  iaaa  bbb  i  '  a  aaa  i 

[  bbb  :  bb      a  :    bbb  'aaa  a      a       aaa  b  b 

BBB         B         BB  '    BBB  J  GGSfflfflGB J  " 

BB     ■   B        BBB   BBB     )  CBHSGSGGGBBBCBBffi'  1EBG 

a      bb    bbb  bbb  •   i  bbb  aa    .bbb  .aaa  aa. 

□ggbbb  bbb    bb      a  aa;  'aaa  bbb  )  :gs  aaa 

!     MB   BBB  i...     B         BB  a   aaa   BBB  ]G  IfflGfflfflffll  I 

■B  J]  B        BBB   BBB     ]  GBGGGBG  1  IBBBGBGCCBt 

bgggbb    bbb  bbb  : :  :  bgggbb  ]  aaa  B  ih"hb; 

BBB    BBB      BB         B  GGGI 


GBBBG 
BBB 


BBB   BBB        B        BB  GGBBB JBBB  :SBGGBB 

BBB  i   BB  !      B        BBB  GBBB  I  ISffl  BfflfflOBBBL_. 

1BBBGGGBGGGBBGGBBBG  iBBBGGGSGSafflGBBBGGGa JSffiffiG 

1  18  1  12  24 

Fig.  325.  Fig.  326. 

The  next  course  in  figuring  skip-twills  is  that  of  combining  warp  and  filling  skip-effects  in 
the  same  design. 

Figs.  325,  326  and  327  illustrate  this  sub-division  of  the  skip-twills. 

Fig-  325 — repeat:  18  warp-threads,  18  picks — has  for  its  foundation  the  6-harness  5  

regular  twill.    Take  six,  miss  two,  three  times  over  in  one  repeat  for  warp  and  filling  directions. 

24GGQGBQGQBBGCBBBBOBBBGQQB 
B  B         BBB    BBflB  BB 

BB        B  BB      BBBB    BBB  22   BBB         BGBBfl         BBB  IE  1  B 

BBB      BB  B        BBB    BIBB  B    BBB  !i  1!  B    BBB         BBB  II  IG 

B        BB      BBBB   BBB     .  B  ;        1  O   i  BBB      H  '    BBB  V  '    BBB  \ 

B         BBB    BBBB      BB         B  B         BBB    B         BBB  BBB 

B  Ha      BBBB    BBB      BB  H         BBB    B         BBB  BBB 

BB  B         BBB   BBBB   BBB  I  .BB   'G  BB  /.BB         BBB  BB 

BB  :  'BBBB  'BBB         B  BGGG  I  BBB  1     B  'BBB    '      BBB  .  .  B 

B         BBB    BBBB      HB         B  V         BBB    B         BBB         BBB  I 

BB      BBHH    BBB      BB        B  BBB         B   BBB         BBB  H 

B        BBB   BBBB   BBB      BB  BGBBB  1  .   B  IBBBGGGBBBGGG 

BGGBBB  ]  B  ]  BBBGQGBBBGQ 
B  BBB  B  BBB  BBB 
[  B  i  ".  BBB  B  .:  ,  BBB  ]  :  .BBB 
I  BB  j  .  BB  BB  ,  .  BBB  !!  i'  BB 
I  BBB  :  BBBB  <  ;  BBB  .  "  B 
B    BBB         B    BBB  BBB 

BBB   BBB        IHUIZiGBUUUUBBULJ  B  .    BBB      B  !   BBB    "    BBB  ] 

BBB    BBBB    BBB      BB  B  BGGGBBB" B  1      BBB  .  J  BBBG 

B  B         BB   '  BBBB   BBB  LB  ..  '    BBB   B      .'  BBB  :  .  BBB 

BB         B  B        BBB  .BBBB  [  BB         BB    BB         BBB  BB 

I  BBB  .  BB  "      B  BB     .BBBB  BBB  ]'  ;   B  BBB'  "'  'BBB   '  B 

1  BflHBGBBBGGBBGGGGBGGGBBBoj  1BGGGBBBGBGGGBBBGGGBBBG 

Fig.  327.  Fig.  328. 

Fig.  326 — repeat:  12  warp-threads,  12  picks,  and  Fig.  327 — repeat:  24  warp-threads,  24 
picks — are  figured  skip-twills  of  a  more  elaborate  design. 

In  Fig.  326  6  threads  in  rotation,  warp  and  filling  ways,  are  used  before  skipping.  In  Fig. 
327  4  threads  in  rotation,  warp  and  filling  ways,  are  used  before  skipping  3  threads. 


BBB    BBBB  BB 
BB      BBBB  BBB 

B 

B           B  3 
fl  B 

BBB         B  B 
BBBB      BB  B 

BB  BBBB 

B  :  ;   BBB  1 

67 


Fig.  328 — repeat:  22  warp-threads,  22  picks — is  designed  to  illustrate  skip-effects  irregularly 

arranged,  and  is  derived  from  the  common  3  6-harness  twill.    Arrangement  of  drafting  for 

this  weave  is:  Take  one,  miss  two,  take  seven,  miss  two,  take  one,  miss  two,  take  thirteen,  miss  two. 


VI.    Combination  Steep-Twills  (of  630  grading). 

This  sub-division  of  the  twill  weaves  is  produced  by  combining  two  regular  twills  (45  °) 
which  either  have  the  same  number  of  warp-threads  for  their  repeat,  or  two  regular  twills  where 
one  weave  contains  one-half,  one-third  or  one-fourth  the  number  of  warp-threads  in  its  repeat 
compared  to  the  number  of  warp-threads  found  in  the 
repeat  of  the  other  weave.  In  designing  these  com- 
bination twills  the  two  weaves  are  combined,  one 
pick  of  one  twill  to  alternate  with  one  pick  of  the 
second  twill.  Diagram  Fig.  329  is  designed  to  give 
a  clear  illustration  of  their  method  of  construction.  In 
the  same 


A  represents  the  regular  8-harness  twill 

■g  ti  <<  «<  l< 

C       "         the  drafting  so  as  to  get 
D  =  the  combination  63 0  steep-twill. 
Repeat:  8  harness  and  16  picks. 
Arrangement  of  drafting: 


1.  2.  3.  H.  5.  6. 7.  a 
B 


... 

— ' 

... 

.... 

1 — 



I  2,3.^.56.78 
Fig.  329. 


1st 

pick  of 

combination 

twill  is 

1st 

pick  of 

regular  twill 

B. 

2nd 

u 

tt 

tt 

1st 

<< 

A. 

3rd 

u 

it 

<( 

2nd 

a 

tt 

B. 

4th 

n 

ft 

u 

2nd 

a 

a 

A. 

5th 

tt 

it 

a 

3rd 

tt 

tt 

B. 

6th 

«< 

tt 

<< 

3rd 

a 

it 

A. 

7th 

« 

ti 

a 

4th 

«< 

tt 

B. 

8th 

tt 

(t 

ti 

4th 

tt 

<< 

A. 

9th 

<< 

a 

a 

5th 

«< 

tt 

B. 

10th 

tt 

a 

tt 

5th 

it 

«( 

A. 

nth 

tt 

a 

ti 

6th 

tt 

tt 

B. 

1 2th 

u 

tt 

6th 

<« 

a 

A. 

13th 

<< 

a 

ti 

7th 

tt 

<< 

B. 

14th 

it 

a 

t( 

7th 

tt 

<( 

A. 

15th 

ft 

« 

<< 

8th 

it 

(t 

B. 

1 6th 

ti 

« 

8th 

ft 

<t 

A. 

■  ■■ 

1 

Fig.  330. 


kk    .  :::: 

□□l:-:: 

□□aaaa  2 

□aaaaaa 
laaaamn 

1  7 
Fig.  331. 


MQHHGOOH 
■  :  ■ 
aa  aa 
:    ■  ■■ 

Hccr.aaa 

C BCC ■■□ 

□□□aaaa 
■□□■■□□ 

aaaa 
□□■■□  ■ 

1  :aaaa  ] 
□■■□□■□ 

aaaa  j 

!■■□□■□□ 

1  7 

Fig.  332. 


hh  aa" 


~a: '  aa 
:    aa  a 

□BSDDHD 

BQL □□  " 

a  '  a  a 

□□□□□HQ 

□□□□□□□ 
Fig.  333. 


aa  a 
■    ■■  : 

aa  .  □  j 
■  ■■ 

a  a  a 
02mm.  m 

□nac;  .aa 
□■■□□■□ 

:  :a    .aa  : 

!■■□□■□□ 

Fig.  334. 


Fig.  330  illustrates  the  regular  (45  °)  7-harness  twill 
Fig.  331  represents  the  regular  7-harness  twill  known  as  - 


Fig.  332  clearly  illustrates  the  combination  of  these  two  weaves  (Figs.  330  and  331),  or  its 
"Combination  Steep-Twill"  oi  63 0  grading. 


68 


To  simplify  the  combination  each  regular  twill  is  shown  by  a  different  type  and  this  style 
of  type  is  retained  in  the  combination  twill.  Repeat  of  combination  twill,  Fig.  332,  is  7-harness 
and  14  picks. 

Fig.  333  illustrates  the  regular  45 0  twill,  known  as  5 — which,  with  weave  Fig.  330 
(from  the  previous  example),  is  used  in  constructing  weave  Fig.  334.  Repeat  of  the  latter : 
7-harness  and  14  picks. 


mebgbbgb 

□  :ee  ;bb  ^■■■□□□■□■□□b  isbesggggebgcxj 

nDMjnmm  ■■  be  -     ibe  _,ggh 

be  aaa  ■      ■  ■    ■■■  e       .be  ee 

EE      .  EBB 

EEGBBBG  1     ■   ■      ■■■■  :  CGGBB.  IL  ]  'EEE  J 

7QQTH3GQ  n  EE     '  IEEE.  . 

E    E-    EE                                            E    EEE    E  ■[_.■□□■■■■□□□  EE  EEE 

EE    EEE                                                 BB      ■  EE  EEE 

EE    EEE                                                 EEE    EE  ■  .   BBBB  :   I  :BG  EGGGBBBLj^LGGB 

E   EEE   B  EEE  .EE 

hbebgbb  eee  ee  ]  :  ■  mi  □geehj: uiqbg 

ieeezjeelP  ibjbggbgg  ^■■■□□□■□■□g  lCHQHGGaaGGng 

Fig.  335.  Fig.  336.  Fig.  337.  Fig.  338. 

Fig.  330  is  shown  combined  again  with  a  different  weave,  Fig.  335,  in  the  7-harness  and 
14-picks  combination  twill-weave,  Fig.  336. 

12-harness  weave,  Fig.  337,  and  12-harness  weave,  Fig.  338,  are  illustrated  as  combined  in  its 
63 0  combination  steep-twill  by  weave  shown  in  Fig.  339.    Repeat  of  the  latter:  12-harness,  24  picks. 

Fig.  341  illustrates  another  12-harness  combination  twill,  630  grading,  obtained  by  combining 
weave,  Fig.  337  =  12-harness  regular  twill  — ^ — - — i — — 5,  and  weave  Fig.  340  =  12-harness 
regular  twill  1— 3 — — % — — g — — r    Repeat  for  the  combination  twill-weave:  12-harness,  24  picks. 

Fig.  342  represents  the  combination  steep-twill  for  12  harness  24  picks  repeat,  as  produced  by 
combining  the  regular  12-harness  twill  shown  in  Fig.  337  (i— ^ — - — j — - — -2)  with  itself,  starting 
from  two  different  points. 

The  foregoing  examples  illustrating  the  construction  of  the  sub-division  of  twills  classified 
in  general  as  "  combination  twills  "  indicate  that  an  immense  variety  of  different  new  weaves  can 
be  produced. 


24bbb-^--bbggg  scims  g~eg_bgb  j^ege —  " 

■■■     ,  B   BGGB  BBBOOOBGBGGB 

EE  EE        S  □,:]BG~E  "_.B  "~B1  E        BE  EE  B 

mm      b  a    mm  mm      mm    mm  mm      m  m  mm 

E  BE      r.BE  GBGGQDDQDQan  EGGGEEEEGGEG 

■      b  b    mmm  m      mm    mmm  bgggbgbggbbb 

be.     bee  .  e  :  :eg  iegb  .: :  qggbbbb  _  "B  :a 

B    B      ■■■■  Mm      BIBB  B    ■  BIBB 

EE        EEE  1  GGEGQEGEOGGB  I  .    EEEE      B   B  1 

m  m    bbbb  ]  ■  ■    bbbb:.]  ■  b  hiij 

EE  .      EEE     1  '  B      E    E     .  'EG  EEEE      E  B 

■  B     BBBB  J  2  r.B  BGuBBBBGD  DBGBGGBBBBGG 

:  EE        EEE       5  12OGGEGGEGGEG0                              EQQEGBGQDEQG  BBBB  2  IB  !Q:  :□□ 

■■■■■■  E                                    BGBGGBBBBGGG  ■□BGGBBBBGGG 

EE        EEE    -     1  B      B      B   B                                   □□□□□□□□□□□Q  BEEGGEGEQQQE 

■  llll  ■  EGQEGGEGEGGG  GBGGBBBBn  J;~B  L:b  BBBB  ]  ,  I 
B  EEE  B  □□EGGEGEGGQH  □HQHGGGEGGEG  EE  B  E  ;GGBE 
B  .  BBBB.  :  .  .B  :  ■      ■■■■        ■  .  ■      IIP!        ■  .. 

EEE           EE  E  .   B  IB  '..  .    Hj  ]                                B    E         E      B  B      B    E  .  ,  EBB 

BBBB        B   B  □!  1BQBGGGEGQB                              L  i  BBBB        B   B  □□BBBBGGQBGB 

EBB    .  I      EE  :  □EGBQGGBQQEG                               .  B        B      B      E  C . B JE  ,  '  EEEE 

l  .BBBB  .  '    B    B  C'BBBfl     .    fl   B  ]  GBBBB      GB    B  j 

EEE  .  I  .  .BE  .  :  B     I   E      B      B                              EG .1GB      E      E  B   B        BBBB  : 

1BBBBUGGBGBGG  1BGGGEQGBGQEG                             ^  BBBBGGGBGBGG  BBBB        B  B 

1                             12  1                             12                                  1                            12  1  12 

Fig.  339.  Fig.  340.  Fig.  341.  Fig.  342. 

The  principle  of  combining  weaves  in  this  manner,  or  the  construction  of  new  designs  out 
of  one  weave,  as  shown  by  rules  and  examples,  is  of  great  value  to  every  designer,  as  it  enables 
him  to  produce  a  large  variety  of  weaves. 

In  addition  to  the  combination  steep-twills,  constructed  out  of  two  twills  and  in  regular 
order,  we  can  vary  the  order  systematically  as  much  as  we  choose ;  again,  we  may  combine  three 
four  or  five  regular  twills  for  one  combination  twill ;  in  fact,  the  great  variety  of  new  weaves  we 
can  construct  is  unlimited. 

VII.     Corkscrew  Twills. 

This  sub-division  of  the  "regular"  (45 °)  twills  is  derived  from  the  latter  by  means  of  a 
"  double  draw."  This  procedure  will,  to  a  certain  extent,  reduce  the  texture  of  the  warp  for  the 
face  in  the  fabric,  hence  a  greater  number  of  those  threads  per  inch,  compared  with  the  regular 
twill,  are  required. 


69 


A.    Corkscrew  Twills  having  for  their  Foundation  One  of  the  Regular  Twills. 

This  sub-division  of  the  corkscrew  twills  commences  with  5 -harness,  after  which  they  can 
be  made  on  any  number  of  harness  desired. 

Figs.  343,  344,  345,  346  are  designed  to  illustrate  the  method  of  operation  for  drafting  the 

5-harness  corkscrew  twill  from  its  foundation  weave,  the  regular  5-harness  twill  known  as  ^, 

and  which  is  represented  in  Fig.  343. 


Fig.  344  shows  the  double  draw  as  required  for  drafting   1  „  s_  m 

iPSS  g* 343>  (3°  l  M 

1     0  Weave  Fig.  345  shows  5-harness  corkscrew  (with  5  picks  s"a  aB^Ba  FlG-  345> 

FlG'343,      in  its  repeat).  * 
bog nnnnnnin  Drawing-in  draft  for  practical  work,  will  call  for  a  5-  ~ 

BniSdSS    harness  "  straight  draw,"  as  illustrated  in  Fig.  346.    The  pres-  5§BS8§HS@§§   FlG-  346- 
^  system  of  treating  corkscrew  twills  will  always  be  more  iSbSbSbS§ 
ig.  344-      advantageous  on  an  uneven  number  of  harnesses,  as  only  such 
a  number  will  allow  an  equal  breaking  off  for  the  two  twill-effects  as  visible  on  the  face  of 
the  fabric. 

11  a-  a  aa  ■  ^anaa 
::m  a  m  a  a  a 

□B(  :a  ]  ■  ■  aa  i  aa  ■  ■  aa  a  a 

1  a    ■  a  aa  a  aaa  aa.  a  a  a 

[    ■  ■  :bb  a  a  a  a  aa  a  a  am  ] 


■BUBDancB  :■  ;  ~.  a  a  am  m  m  ma 

0  a  a    ■  ■  ■::  La        ■  ■  ■::  a 

ca    mm  ma  a  [':•)■  ■  ■  ■::  a  a 

■  ■  aa  a  a  ■■■■  ■  ■  ■  ma  a  a  a 

■□■□■□□BDBED  ■ .  ■  aa  a  a  aa  j 

a  a  a  a  a    a  a  a  a  a  a  a  a  a 

laaaanaacjaaan  ibb  jblb  jbbgbuBjI 

Fig.  347.                       Fig.  348.  Fig.  349.  Fig.  350. 

Fig.  347  shows  the  regular  6-harness  — — 3  twill.  By  means  of  double  drafting,  1-4,  2-5, 
3-6,  4-1,  5-2,  6-3,  we  derive  Fig.  348,  the  12-harness  corkscrew.  Drawing-in:  "Straight  draw," 
12-harness. 

Fig.  349  illustrates  the  7-harness  -  twill.  By  double  drafting  (1-5,  2-6,  3-7,  4-1,  5-2, 

6-3,  7-4)  we  derive  weave  Fig.  350,  the  7-harness  corkscrew.  Drawing-in :  "  Straight  draw," 
for  7-harness. 

[  a  a  a  a  a  a  a  a  a  a 

^□ananaaaanananaa  ca  aa  a  a  a  aa  a  a 
aaaa  a  a  aa  a  r.aa  a  a  a  aa  a 
r  aaaa  a  a  aa  a  a  aaaa  a a  a 
aaa  a  a  aa  a  a  a  a  a  a  aa  a  a  a  am 
a  a  a  aa  a  aaa  a  a  aa  aa  a  i 
b  a  aa  a  a  aaaa  :  a  aa  aa  a  b  : 
a  aa  a  a  aaaa  a  2  ma  a  a  am  aaa 
aa  a  a  aaaa  a  m  mbbbb  '~<2,a  a  a  am  a  a  a  aa 
 bbbib                                ::aaa  .a  m  ma  ::  '  bbbbb  :                         a      aa  a  a  a  aa  a 


bbbbb                                aaaa  a  a  aa  bbbbb                                 aa  aaa  aa 

■  aaaa                             aaaa  a  a  a  a  a  a  cbbbbb    .  :                       :  aa  a  a  a  ma  a  a  a 

bbbbb                             aaa  .a  m  ma  arc:  .a  bbbbb      .  :                       a  a  a  a  aa  a  a  a 

bbbbb                       b  a  b  aa  a  a  aaa  a  b  a  aa  a  a  a  aa  j 

a  a  aa      a  aaaa  :  m  a  aa      a  a  aa  a 

b  aa  a  a  aaaa  a  i  aa        bbb                       b  a  a             aa  a  b  . 

bbbbb                      iBananarjaBaBLBLB^  iaa_:B-a::B  ^aa^B^BLMa 

Fig.  351.  Fig.  352.  Fig.  353.  Fig.  354. 

Fig.  351  represents  the  8-harness  rtwm<>  anc*  Fig.  352  illustrates  the  latter  arranged  for 

the  corkscrew  weave,  which  is  derived  by  means  of  double  drafting  the  regular  twill.  (1,  6,  2, 
7,  3,  8,  4,  I,  5,  2,6,  3,  7,  4,  8,  5.)     Drawing-in:   Straight  draw  16- 

harness  or  double  draw  on  8-harness  only.  "□aBaiFai^BnaaBqB:Bara 

■^■iB^aza 


Fig.  353  illustrates  the  9-hamesS  twill  known  as   j.  nMm*m  aaaa"  5a"a  ama% 

Fig.  354  represents  the  corresponding  corkscrew,  derived  from  the  5a5^S  5a"a  bb|"§  ;:bcY' 

former  by  means  of  double  draw  (1,  6,  2,  7,  etc.).    In  corkscrew  weaves  5d^"lalHl  la^S "SeS"!^ 

r         1  •   1           1         r  1                     1    •                                                  i.u     •  4.  una  aaa  a  aa  a  aaa  ■.■a 

ior  a  nigh  number  of  harness  in  their  repeat,  as  11,  13,  15,  etc.,  the  inter-  coma  %  am  ■  jag -2a  a  a 

1  na'"BB  b  aaa  a  aa  lanaBa 

lacing  of  the  warp  and  filling  is  very  loose ;  so  the  fabric  may  get  too  § 

spongy  in  handling.    To  remedy  this,  without  changing  the  face  of  the  Sq!"5a"a  aaa"!  HBS!r"5a 

fabric,  the  floating  of  the  warp  upon  the  back  of  the  fabric  must  be  i"a  ..Baa'a  $mrm  Baa 

reduced,  which  is  accomplished  by  adding  one  or  more  places  of  inter-  Fig.  355. 
lacing  for  the  float.    For  example,  Fig.  355,  represents  the  11 -harness  corkscrew  weave,  which 


70 


should  require  the  n -harness 


twill,  but  where  is  found  in  the  present  example  a  change 


of  the  5  down  in  rotation,  to  2  down,  I  up,  2  down. 

Thus  the  actual  foundation  for  the  present  weave  is  the  regular  I 


-harness 


twill. 


B.    Corkscrezv  Weaves  Derived  by  Combining  Two  Regular  Twills. 

This  sub-division  of  corkscrews  has  for  its  object  the  forming  of  different  sized  twill  lines  upon 
the  face  of  the  fabric,  which  is  obtained  by  combining  two  different  twills  of  an  equal  repeat.  In  con- 
structing the  corkscrew  use  alternately  one  warp-thread  from  one  twill,  one  warp-thread  from  the 
other  twill,  until  all  the  harnesses  are  taken  up.  For  example,  Fig.  356,  a  12-harness  corkscrew- 
weave,  which  is  designed  from  the  6-harness  twill  -  2  (see  Fig.  357)  and  the  6-harness  twill 

3  /(see  Fig.  358). 

Drawing-in  draft :  12-harness  "  straight  draw." 

Repeat :  1 2  harness  and  6  picks. 


.  a  bb  m  "■  ma 
bb  u  u  a  a  a 

■  ■  ■  bb  a  a 

■  ■  bb 

■  bb  a  aa  ■  i 
■::  a  aa  a  ■  : 

c;  a  aa  ■  ■  ■:: 
;;■  a  ■  bb  a 

■  ■  ■  bb.  a  a 

■  ■  .bb      ::■  ) 

■  bb      bb  ■ 
iaa  . 

1  12 


"  bbbb 

■■□□■9 


6CSHDDGQ 
□□□□□□ 

(  ::  •••aaa 
□□aaaa 
□aaana 
igggggg 


a  a  a  ■-■-.■"■□ 
a  a  ■  ■  ■  ■  a 
,ai  a 

■  ■  ■  ■    a  a  a 

■  ■  ■  ■  a  a  a  i 
■□■□■□□□□□□ac:~  ■□ 
■□■cr  a  a  a  ,□■□■□ 

■  a  a        a  a.  a  ] 
a  a  a    ■  ■  ■  ■ 

□□^□□■□■□■□■r  ■■  .a 
a    ■  ■  ■  ■    a  a 

■  ■  ■  ■    a  a  a 

■  ■  ■  ■    a  a  a 

■  a  a  ■  i 

■  ■  a.    a  ■  1 

IPDDQDHDHDDBDBDHLJ 


Fig.  356.  Fig.  357.         Fig.  358. 

In  examining  the  corkscrew  weave  we  find  its 


Fig.  359. 


l;  ■■■■  □ 
['■■■■  '  . 
■■■■□nan 
■■■□□□□■ 
■■ 

m  l  ■■■ 


Fig.  360. 


1st 

warp-thread 

the  same 

as  the 

1st  warp- 

-thread 

in 

Fig.  357- 

2nd 

<< 

tt 

a 

1st 

a 

a 

358. 

3rd 

tt 

tt 

2nd 

a 

a 

357- 

4th 

a 

tt 

a 

2nd 

a 

ti 

358- 

5th 

(i 

tt 

a 

3rd 

a 

ti 

357- 

6th 

a 

n 

a 

3rd 

a 

a 

358. 

7th 

tt 

tt 

tt 

4th 

a 

tt 

357- 

8th 

it 

n 

ti 

4th 

a 

a 

358. 

9th 

tt 

tt 

a 

5th 

a 

a 

357- 

10th 

tt 

a 

a 

5th 

a 

a 

358. 

nth 

tt 

tt 

tt 

6th 

a 

a 

357- 

1 2th 

it 

tt 

a 

6th 

a 

tt 

358. 

-aaa^.DDDD 
aa  a 

a: .:  \  aa 
□□□□caaa 
□nccaaa 

aaa 
□caaanrxj 

Fig.  361. 


The  number  of  harness  required  for  the  corkscrew  weave  will  always  equal  the  combined 
number  of  harness  required  for  the  regular  twills. 


^a"a«aBa  a 
aaaaa  a  ai 
■aaa  a  aa  1 
■a  a  a«~B!  i 
a1  aa  ■  aai 
as  ■  aaa  1 


■  hb  a 

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■  hb  b  :;k:i 

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1-   B   BBBBB  B" 
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BB   B   BB   B  I 
B   BB   B  BBI 
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B   B   BBB   B  I 
B   BBB   B  BB 
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B   B   BB   B  Bl 
B   BB   B  BBBI 
'  BB    B  BBBBB 


BB  B  BBB  B  BB 
I   BBBB    BBB  B 

I  BBB  B  BB  B  a 
IBB  B  BB  B  BBB 
I    B    BB   B  BBBBB 

I   BB    B    BBBBB  :B 

ib  a  bbbbb  ana 

a  BBBBB  a  BB  1 
BBBBB  B  BB  B  ! 
I  BBB  B  BB  B  BB 
IB   B   BB   B   BBB  ] 

BB  B  BBB  B 
BB'  B  BBB'  B  BB 
I  B  BBB  B  BB  B 
I  BBB  B  BB  B  a 
IBB  B  BB  B  BBB 
■  B  BB  B  BBBBB 
I   BB   B    BBBBB  B 

ib  a  bbbbb  a  a 

a   BBBBB   B  BB 
BBBBB    B    BB    B  I 
I  BBB   B    BB    B  BB 
IB   B    BB    B  BBB 
B  BB  B   BBB   B  : 

V!4 


Fig.  362. 


12[7^BB"ZBBBBBB 

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■BBBBB  Bl 
□■■I  


Fig.  363. 


l*GBBBBB~  ~ a  i"a 
aaaaa    a  i  aa 

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aa^naanaaaaa 
a    a  aa: 
□□annaaaaaaa 
'  :  : 

"BBB  ]  ] 


BBBBBBB  I 

laaaaaaa  a 


srnHnBBcanananaBDBnBD 
i  ia     a  a:  bb 
a  a  a  a  bb  b  b  b  b 
a  a  a  bb 

B   B   BB   B   B   B   B  B 
B   BB  BBBBB 
BB  BBBBB 

□■□■cm  arm  n  i^rjaaaHD 

BBBB 

□■□■□■BOHDi 

□■□■Haanaac 
rmnzn    a  a 

momc 
mi  mr 


m  b 

□■■□■ 

^□^aa 

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a.  a  a  ; 

a  :a  -  gg 

GGGDGB 

□□□■□■ 

"!■□■□■ 


a  a  a  J  a 
a  a  a  .bb1  ;■□■□! 

a   B   BB   B   B  B 
B   BB   BBBB  I 

BB'm"m~m  b  ~  b  i 

□!  ~ 


a  a  a 
t  a  a  a  a  a 

r  a  a  .a  bb  b  b.  a  a  a       .  a 

IBB   BB   B    B    BBB        "~"  -B  B 

[  a  aa  a  m  a  b  a       ■  a  a :  a 

[  BB   BBBBB  B   B   B  B 

■□■□■□■□■□■BaBnaanaGapaya 

BBB   B    B  B   B   B    B   BB  ; 

BBB   B  •  B  B   B   B  .BB   B  . 

B   B   B           f  B  B  B   B   BB   B   B  1 

B    B              B   B  B  B    BB    B   B   B 2 

■BGBGBBGaGB  B  BB  B^BGBGBu 


Fig.  364. 


Fig.  365. 


In  Fig.  359  we  illustrate  a  1 6-harness  corkscrew,  composed  out  of  the  regular  twill 

(Fig.  360)  and  3  5  (Fig.  361). 

Drawing-in  draft:  16  harness  "straight  draw."    Repeat:  16  harness  and  8  picks. 


71 


In  Fig.  362,  we  illustrate  a  24-harness  corkscrew  obtained  from  the  regular  twill   — % — 
shown  in  Fig.  363,  and  — ^ — — 5,  shown  in  Fig.  364 

Drawing-in  draft:  24  harness  "  straight  draw."    Repeat:  24  harness  and  12  picks. 

This  corkscrew  weave  will  also  illustrate  the  arranging  of  a  loose  to  a  closer  interlacing. 

For  example  :  Suppose  we  constructed  a  corkscrew  of  the  two  regular  twills  -  -3  and  -  s> 

and  found  the  fabric  to  be  perfect  as  to  size  of  twill  lines  upon  its  face,  yet  too  spongy  in 
structure.  In  this  instance,  the  weave  Fig.  362  would  readily  dispense  with  the  obstacle  without 
changing  the  appearance  of  its  face. 

The  next  step  for  figuring  in  corkscrews  is  the  production  of  three  different-sized  twill 
lines,  as  in  weave  Fig.  365,  which  shows  one  twill  of  6  picks,  a  second  twill  of  5  picks  and  a 
third  twill  of  3  picks  connected  uninterruptedly  with  each  other. 

C.    Figuring  with  the  Filling  upon  the  Face  of  Corkscrciu  Weaves. 

Any  of  the  different  corkscrew  weaves  illustrated  and  explained  in  their  construction 
under  sub-divisions  A  and  B  (also  any  other  corkscrew  derived  from  the  principles  given)  can  be 
arranged  for  the  third  sub-division  of  corkscrews.  As  mentioned,  the  object  is  to  form 
figures  of  different  size,  design  and  combination  upon  the  face  of  a  corkscrew  weave  by  floating 
the  filling,  which  otherwise  rests  imbedded  between  the  warp-threads  that  form  either  face  or 
back  of  the  fabric,  at  certain  spaces,  and  this  in  regular  distances  after  a  given  arrangement. 
These  spots,  obtained  upon  the  face  of  any  corkscrew,  will  appear  distinctly  in  piece-dyed  fabrics 
if  a  single  yarn  for  filling  is  used  and  a  double  01  twist  for  warp;  again,  by  using  lustre  yarn  for 
warp  and  common  for  filling. 

In  fancy  corkscrews,  where  we  use  a  different  colored  yarn  for  warp  and  filling,  these  spots 
(floating  the  filling  upon  the  face  of  the  fabric)  will  readily  be  visible.  Silk  filling  may  also  be  in- 
troduced, at  certain  of  these  floating  picks,  which  will  greatly  assist  ■■□■□■■□■□■■s^QHr<iDi|KDipisnn 
in  producing  fancy  effects.  ■        ■        ■        ■  ■ 

To  give  a  clearer  understanding  of  the  nature  of  this  floating     "g""  ■  ■  "5  J  Jg"  ■  '  "  2 
Figs.  366  and  367  are  arranged.  ■  um™  ■        ■  ■ 

Fig.  366  has  for  its  foundation  the  7-harness  corkscrew  shown     ■  JH"5  g  mm"  ■  ■ 
before  in  Fig.  350.    We  illustrate  the  new  weave  by  three  different    14|  ■  5H"s"5  £■"■  "  5b"b"S  S^a 
characters  of  types :  ■"■  l;S Jw"S  £.■■"■  5B"B"j 

■  for  raisers  1  r  ,  "f^Lj"?  5-"s"S  ■  5. 

.  Vfrom  common  corkscrew.  [■  5.  .  ■  luml  I  S»  ■  .  SbbS 

□  tor  sinkers  ) 

■  for  sinker  for  floating  the  filling  upon  the  face  of  the  fabric.  JiisTEjA"*-  "  "b"£  ■■'■"5  ! 
Repeat:  14  warp-threads,  14  picks.  Fig' 366 

Motive  for  arranging  spots:  52. 
■■■  bo  ■■■■■■»■■■■■■  ■■  Fig.  367  illustrates  the  forming  of  filling  spots  upon  the 

BBBBBBBBBBBBBBBBBBB  t)    J    /  t>  1 

rS- %  5  :bS."5  ■  ■  :  :     regular  9-harness  corkscrew  (see  fig  354). 

Motive  for  arranging  these  spots  is  the  4-harness 


...  ■ULJU 

broken-twill  H5B2 


□  B    B  BBBBBBBBBBBB 


»g"  ■  for  raisers  )  c  , 

(5Sa  .  }  from  common  corkscrew 


□  for  sinkers  J 
for  sinkers  for  floating  the  filling  upon  the  face  of  the 
5  S  S ■  S         b  S         S  S  Si1  fabric. 

BBBBBBBBBBBBBBBBBBBB  T.  r  . ,  ,  r       .  . 

■25SBSP" :Sb"b  5^8 BB"55SnS^  Repeat:  36  warp-threads,  36  picks, 

a  5b'b"s  5  3b"b"s  S  "  "b'S  £  Sb"s"5  Drawing-in  draft  will  reduce  the  36  warp-threads  upon 


5-harness  as  follows:  1,  2,  3,  4,  5,  6,  7,  8,  9,  I,  2,  3,10,11, 
,  7>  8, 

Fig.  367.  ~     7>  8,  9. 


£■"■"£  £  W\  \  £  £■"■"£  ■  !■":"£  £     6>  7>  8>  9>      2>  3>  12,  13,  6,  7,  8,  9,  1,  2,  3,  14,  15,  6, 


72 


D.    Curved  Corkscrew  Twills. 

This  sub-division  of  the  corkscrew  weaves  is  derived  from  the  regular  twills  by  drafting 
in  both  directions,  according  to  the  same  rules  given  in  constructing  the  corkscrew  under  sub-divis- 
ions A  and  B.  After  starting  to  draft  from  left  to  right  for  a  certain  number  of  threads,  reverse 
the  direction  of  drafting  until  the  starting  point  is  reached. 

GaGaGaBGBGBBGBGaGaaaaBBGBGBaGaGa  < 

a  ibb  ■  a  ■  a  a  a  a  aa  m  m  m  ma  a 
uam  m  ■  ■  ■  ■  bb  am  ■  ■  ■  ■  ■  ma 

mmm  ma  am  bbbb  ■  ma  am  m  m  : 
„  ■  ■  ma         am  mmm  ma  a  a  am  a  :  „ 

Front.  a  ma  a  a  a  a  ibb  a  ma  a  a  a  b.jbbg  Front, 

■a  Ja  a  .bbb  a  .a  ibb  a  a  :a  ana  a  ;aja 
TnnuonBnmnnonnnn  <  a  a  am  a  ma  a  ia  a  .a  .am  bjbbgbgb  ^□□□□□^□□□□□□□□□□■□□□□□□□□□□QacDDDo 

v     -    H  ^  n  gbgbbgb  jb  ia  ;aa  ibgb  laBGBGBGBGBaaa  ■  ■  ■□■□□□□□□□□HDHna 

'a  i    ,  1  ■  '    :     ;a  .  aa  bbb  ■  ■  aa  aa  .bbbb  ■  aa  □^□□□□□□□□□□■□□□□□□□□□□□■□□□□□□□□□□h 

l  itj  •  a  i  j  mmm  jbbgbb  ibgb  ibjbgb  ibbgbbgbgbg  □□□□□□□□■□■□□□□□□□□□□□□□□□BDBnDnDnaa 

-i  ■  ■     i  bjb  aa  ia  'a  jam  jb.jb.jb  ma  .a  a  .bbjbg  i.  •  .      a.  a  a  a  a    i  m  .  .  i 

m  .mi  bjbbjb  ia  ..ibjib  .ibb  jbjbb  a  ia  a  .a  .  bbg  ugb.ib  ig  :a  a.    .    ;•  j  jgb  ,bg 

ia.     .  ,  :a jbgIigggj  laajajajaaajajaGaBajajajaaajajaja  ifaaacaaaaHaHaQaaaGGaaaaGGQGEaaaaaaGC 

1  16  1  1*)  1  36 

Fig.  368.  Fig.  369.  Fig.  370. 

For  example :  Take  the  7-harness  regular  twill  -,  from  which  commence  to  draft  as 

follows :  1,  5,  2,  6,  3,  7,  4,  1,  5,  I, .4,  7,  3,  6,  2,  5,  as  represented  in  double  draw  Fig.  368. 

Fig.  369  illustrates  the  "  curved "  (wavy)  corkscrew  derived  by  means  of  this  double 

draft  from  the  7-harness  (-  3)  twill.    Repeat:  16  warp-threads,  7  picks.    Drawing-in  draft: 

16-harness  "straight"  draw  and  one  repeat  of  corkscrew  weave  from  Fig.  369  for  harness  chain; 
or  7-harness  double  draw,  Fig.  368,  and  "  regular  "  twill   for  harness  chain. 


HngnanHUHBaBnBaBGBGBGBGBGBGBGBaGaGHaaGanQaBaHBGBaBaBaBaBaBnBGBaBGBaGHanGa 
:  .a  .a  am  a  .a  :a  aaaa  ibbbb  a  a  a  ma  ia  a  a  a  .  aa  a  a  a  aaaa  aaaa  a  a  a  aa  a  a 

GBBGBGBGBGBGBB  ia.JBJa  ..IB  JBB  B  JB.JB  IB.  IBB  IBB  JBGBGB  B  BB  3  3  .3  3  ,3B  m  m  m  B...BB 
BGBGBJBJBBBB  J3  JBGBGBGa JBGBBBB   B   B  IB. IB,  JBGBGBGBBBB  3   3   3   : J  BBBGB  B  B  J 

■GBGBGBS  JB  IBJB  JBGBBBGBJBJB  .3  BB   BBB   B    £  3   BBB   B   B   3   3  BB  JBGBG 

BGBBBBOaGBGBOSBGBGBGB  IBB  IB  IB  IB  1BBBBQBGBBBHGB   B   3   BB  IBGB  .B  JBB'  IB  .3   3  1BBBBG 


Da  a  a  a  a  aa  a  a  a  a  a  .aa  ib  ib  ia  a  dbbb  jbgbi  .3  a  aa  a  a  a  a  a  aa  3  a.  bjb_,b 

7GB  .3   3   3B   B  IBGB  BBB  IB   B  JB   B  •    BB  JBGBGBGBGB  IB. JBGBJB:_:BB JBGBGB 

;  3   3   3fl    BBB  -B3BB   3B3B    B  IB  JB    B3    3    3'    3    3  ,3B   BBB    B3B3   3B3B    BBB    B3    3  13 

OBBGBGBGBGBGBBGBGB JBGB  IBB. JB. JBGBGB. JBB  IBB   B  .IBGB'  B  IBB  .a   3   3   3  .BBB  JB.JB  JBGB3 

a  a  a  a  bbbb  .a  a  a  a  a  a  bbbb  a  b  a  b  a  b  a  aaaa  .3.3  3  a  3. .3  bbbbgbgbgbg 

BGBJB  BB  3  .3  3  3  BBB  IBGBGBGBGEB  JBGBGB1'  JB  B  BB  IB  B  B  B  IBBB  3  3  3.3  .BB  B.IBJ 
BGBBBB  ".B   B  IBGBBGB  JB  JBGBBGB  JB  JBGBBBB  JBGBBBB  ,3  3.  3   BB  ,BGBGB_BB  3   3   3   BBBB  J 

1BBI  IBGaGBaBGBBGBGBGBGBGBGBBGBGBGBGaGBBaGBGBGBGBGEBGBGBGBGBGBGBBGa^aGBGBGB 

1  30  72 

Fig.  371. 

If  the  twill  lines  upon  the  face  of  the  fabric  are  not  required  so  steep,  draft  every  one 
or  every  second,  third,  or  fourth,  etc.,  warp-thread  for  each  twill  twice  or  three  times,  or  oftener, 
upon  the  same  harness.    Figs.  370,  371,  372,  373  are  illustrations  of  this  kind. 

Fig.  370  illustrates  a  double-draw,  which  has  for  its  principle  of  construction,  2  warp-threads 
upon  1  harness,  and  1  warp-thread  upon  the  next. 

On  points  where  the  twill  changes  its  direction,  judgment  must  be  used  so  as  to  prevent 
the  last  pick  floating  too  far. 

Fig-   371   illustrates  the  curved  corkscrew  as 
7GroxjaraGaaGBGaaaGaGaaBGaaaGGBaGaaaGGGGG         ...   -          .               ,     ,,  .  ,  M1  . 

r   'B  .7.     a  b  a  i        derived  from  the    regular   7-harness  twill  bv 

13  B  3        IB  B        ,        3       JB     1  UC1IVCU  LUC       IC^Uldl  3    /    llcllllC33    LWHl  Vjy 

□GG  JJGBJJGG  JGBGGGB  j  .JGBG-IJGGGGBGGGGGG3GGG3  r      .  .  .  ,      -       _.  ,  .  r 

a   i  .1  j jb jggjg. ig jgggbggggggbggggggggg        means   of  Hrawincr-in    nrafl"    Ki a-    inn      Reneat  *  3D 

B  JBGGGGJJJ  I  IG  i  J  jGGBGGGGGGBJJJJJJG  UlCdllb     UI     UldWHl^   111     UldlL,     1  Ig.     ^/U.       AVCpCdL  , 

1BGGGGJG3GGGGGGBGBGBGBGGGGGGBGGGGJGBGBGBJ  .  .  .    ,  ,^  .  ,  Ca 

Fig  ^2  i0      warp-threads,  7  picks.  For  drawing-m  dratt  use  rig. 

370;  for  harness  chain  the  regular  3  twill. 

A  double-draw  in  which  the  point  of  reversing  the  twill  is  more  balanced,  to  give  a 
more  wavy  appearance  when  applied  to  a  fabric,  is  shown  in  Fig.  372.  The  point  harness  of 
the  one  twill  shown  in  b  type  is  drawn  in  four  times  in  rotation,  whereas  its  corresponding  point 

^QB'JSJBBJBGB  JB3GBG3G3GBBGBGBGB3GBG3J3I.J3GBG3IJ3:  JBBGBGBGB3G3G3G3GBBGBGBCBBG3GBGBGBQB 

1  a  aa  a  a  .aa  .-a  a  a  a  ib  bb  b  b  bb  b  a  .a  a  .a  ibb  b  ib  ibb  ib  a  .a  :a  a  ibb  a  b  .bb  a  a  .a  a 
1  aa  a  a  bb  a  a  a  a  a  a  a  aa  a  a  aa  a  a  a  ibb  b  a  ibb  ib  a  a  a  a  a  a  aa  a  a  bb  b  a  a 
a  a  a  bb  a  .a  .bb  bbb  a  a  ia  jb  a  a  jb  b  jbbb  bbb  ib  ib  bb  a  a  aa  bbb  bb  b  b  bb.  b  b  bbb  bb 
b  a  aa      a  a  a  bbbb  bb  a  a  bb  a  a  a  a  a  a  aa  a  ia  ibb  bbbb  bb  b  b  bb  b  b  b  a 
a  bb         3 a  a  b  a  a  b  b  bb         bb  b  a  a  a  aa  ib  a  ibb  a  a  a  a  a  m  ma  a  a  am  a  a  a  j 

BB         B    BB  B  l  llll  .BBB  IB  IB  IBB  .B  IB    BB  BBB    B3    3    3  IBB    B   B    BBB    BBB   B    B    BB    3   3    3B    BBB  1 

'  a  a  aa  a  a  ibb  a  a  a  aa  a  a  a  a  a  a  a  a  a  a  a  aa  a  a  aa  a  a  a  am  a  a  aa  a  a  a  a  a 
i  a  aa  b  b  aa  a  a  a  a  a  .aa  a  a  aa  a  a  a  a  a  .aa  a  bubb  a. a  a  a  a  ,bb  jbgbgbb  a  ibgbgb 
i  aa  a  a  bb  a  a  a  a  a  a  a  bb  m  m  ma  ia  a  a  aa  a  a  bb  a  a  a  a  a  a  a  am  a  a  aa  a  a  a 
bbb  bb  a  a  aa  bbb  bb  a  bb  a  b  bbb  bbb  ib  ib  bb  a  a  aa  bbb  bb  a  a  aa  m  a  bbb  .ibb 
a  a  bb      a  bb  b  a  a  a  aa  bjb  .bb  a  a  bbbb  bb  b  ib  bb  bbbb  bb  bb  b  a  a  ..a  J 

BGBB  .a         BB  JBGBGB. IB  IB    B   BB   B    B   BB    B  IB  B    B    BB  .13  IB  .BB  IB  .IB  IB  IB  .BJB'  BB    B  .BBBBGBGBGBG 
IBB. .iaGBGBBGBJBGBBBGBBBGBGB  JBBGBGBGBBGBBB   BB    B  .3    BB    B    B    BBB _  BBB ...B    B    BB _  3_.B_.3B ...BBB 

1  40  tO 

Fig.  373. 

tor  the  other  twill  is  arranged  to  correspond  as  nearly  as  possible,  without  producing  any  place 
for  filling-floats  on  rear  of  fabric. 


73 


Fig.  373  illustrates  the  corkscrew  weave  as  derived  from  the  /-harness  twill   when 

using  double  draw  given  under  Fig.  372.    Repeat:  40  warp-threads  7  picks. 

Double  draw :  requiring  7-harness  for  the  40  warp-threads  in  repeat  of  weave. 

The  next  step  in  figuring  in  this  division  of  corkscrew  weaves  is  the  use  of  filling-float 
effects  as  explained  under  sub-division  C. 

^□■□■□■^■■■■□■^■□■□■^■□■□■■■■■■□■□■"B  a  ■  ■  ■  ■mmmmb  mm  mm  m  m  m  '  '  <  m  m  m  m  m  m 

■   ■■■■■   BBB  iBBB   ■■        ■■■■■■■■■   ■■  H  ii  ■   ■   ■■■   ■■■  mm  IB 

GIGBB  jBBDBL 
L  BB  B  B  B  BB  B  B 
B  B  B  B  BB  B  ■  B 
II  I  II  I  I  I  I 
■■■■■IB  BB  I 
B   BB   B   B   B   BB    B  I 


IS!  J 
□I 
□■ 
□I 


I  II  I  I  I  III  III  I 
I  B  BB  B  BBB  B  B.  J 
IBBBBBBBBBI 
I  B  B  B  BB  B  B  B  B  I 
BB  B  B  BB  BBB. BB 
B  ■■■■■■■ 
B  I:  f  II   I  .  ■    ■    ■  B  B 


]■■■□■□■! 


I  B 
I  BI 
IB  I 


BB  B  B  B  BB  BBB  .BB  OB  B  'BB  B  B  B  B  I  j|  ,11 
B  B  B  BB  B  B  B  fl  .BB  B  B  B  BB  B  B  B  B  BB  I 
B     i  BB    B    B_B   B   B   B   BB  i  j  I   I  II  .III    BB    B  I 


i  a  a 

I   B  B 


BB   B   B   B   B  B 

B   BB  B   B   B   B  1 

B   B   BB    B    B   B  I 

B   BB  i  !;  ■  B.  II  JII  ) 


Fig.  374. 


Corkscrew  weave  Fig.  374,  is  designed  to  clearly  illustrate  this  point.  Repeat :  40  warp- 
threads  and  9  picks. 

The  regular  twill,  which  is  used  for  the  construction  of  the  curved  corkscrew,  is  the  - — — 4 
9-harness  twill.  ■  for  raisers,  □  for  sinkers,  from  curved  corkscrew ;  ■  for  sinkers  for  floating  the 
filling  upon  the  face  of  the  fabric. 

E.    Corkscrew  Weaves  Composed  of  Warp  and  Filling  Twills. 

If  all  the  different  divisions  of  corkscrew  weaves,  thus  far  explained,  are  used  in  practical 
work,  the  warp  will  form  the  face  and  back  of  the  fabric,  whereas  the  filling  will  rest  imbedded 


□□□BBBBlO 
C    BBBB  < 

BBB  B 

■■□□nnniB 


Fig.  375. 


:         a  a 

l,  :  b  a 

□□^□□□□□■□□□□□□□□!  J 

□□ggg  b  .  . 

□□□□■□□□□□□□□□□□□a 
□□■□□□□□□QGoaaaGaa 


1  a  ^b  a  r ;  b  b  b  ua 
a  m  m  m  mm  a 

□  bbb  bi  a 
bbb  bb  ::  bi 

[  1  B  b  b  bb  a  B  bi  1 

BBB    BB  B  B           '  I  i 

IB    B  B  B        I  II  1 

IB   B  B  B  B  I 

B    B  B    B    B  I 

b        a  a  bi  bb 

BBB   BB  B 

BBB   BBi  BI  B 
I B    B    BB   B   BI  B 

I  i  -  JB  B  B    BB   B   Bi  BI  I  1 
BBB   BB    B   B   B   I  ' 
B   B   BB    B    B   B      I  .1  B  I 
fl    BB   B   B    B  B1  BI 

■  bb  b  b  b  : :    ■  .■  a  ; 


a  bb 

BB  B 

*->  IB  B 

JB 

I  B 


Fig.  376. 


Fig.  377. 


between  the  warp  (except  in  the  few  floating  spots  used  in  Figs.  374,  367,  366).  In  the  present 
division  of  corkscrews  the  filling  is  used  to  show  a  third  line  besides  the  two  lines  produced  by 
the  warp. 

To  give  a  thorough  understanding  Figs.  375,  376,  377,  378,  379  and  380  have  been  designed. 


-1   B   B   B   B  i  BBB 
'.BBBB 
B   ■   ■   ■  flB 
■   ■    ■   ■   flB  B 
111]        ■   ■   ■  fl   flB   B  B 
■   ■   ■   ■    flB   B   B  B 


■  ■ 


iflB 


mil 

□□□□□JflBBBflU 
■  ■■■■1 
9BBBB  1 

□Bflflflfl  -  1 

■bbb.::  ioggc  m 
mmm  ...bb 

1  18 

Fig.  378. 


a 

B 

□□□□□□□□□□□□□□□r-- 
□□□□□□□□□□□□□□r- 
□□□□□^□□□□□□■□□□□□□□□Hna 

I  B 

□j j j j j .j i;b  _,  z         a    'J  :lt,u 
□□□□□□■□□□□□□□□HananGDDG 
b  a 

I  '  :B  .  HGGGGGGGGGQQP 

ibj_^  laoDHr- 


i"  ib  a  a  a  a  a  a 

I  IB  IB  BBBB 

:  a  a      2    a  a  a  a  a: 

a  .a  a  a  a:: 

i  ■  :        bbb  a  ...bb  b 

ggggb  a  a  a  a a  a  a  : 


a  ib  b  bb  a  a  a  a 

a  «  'bb  a  a  a  a 

a  'aa  a  a  a  a  a 

ua  a  a  a  a  i 


Fig.  379- 


Fig.  380. 


I  BB 

ibi  a 

B  B 

a1  a 

bi  a 

BI  i 

I  .[  .  ! 

,1  1 .1 
1  a  1 
■1  a  ; 

I    BI  I 


a  bb 

bb  a 

;  ..a  a 
;  a  a 
1  a  a 

!.□'..: 

I    M  .1  I 

'  j_:bi  ] 
■'  .■•  1 

Hr  B 

■□■3 


Fig-  375  represents  the  9-harness  twill  known  as  *  g.  Fig.  376  the  drafting  by  which  weave 

Fig.  377  is  produced.    Repeat  for  the  latter:  18  warp-threads  and  9  picks.    For  drawing-in  use 


7-i 


chain  one  repeat  of  corkscrew ;  or,  9-harness 

4  5  twill  (Fig.  375). 

twill.    Fig.  379  the  drafting  by  which  corkscrew 
Repeat  for  the  latter:  24  warp-threads  and  12  picks.    For  drawing- 

2-harness  double  draw  (Fig.  379),  and  for  harness  chain  the  5         twill  (Fig.  378); 

or,  24-harness  straight  draw,  and  for  harness  chain  one  repeat  of  corkscrew  weave,  24-harness 
and  12  picks  (Fig.  380). 


either  18-harness  straight  draw,  and  for  harness 
double  draw  (Fig.  376),  and  for  harness  chain  the 

Fig.  378  represents  the  12-harness 
weave  Fig.  380  is  derived, 
in  use  either 


F.    Corkscrew  Weaves  Figured  by  the  Warp. 

In  this  division  of  corkscrew  weaves,  figures  of  any  size  or  form  are  produced  by  arranging 
a  corresponding  floating  of  alternate  warp-threads.    Every  uneven  numbered  warp-thread  (1,  3, 


TBTC 

:  a 
:  a 
:  a 
l  bb: 
■  ■ 


1  aa. 


:-a_a_a^a_a-a-a"a^a"a-  a  a  a 
:  a  a  a  a  a  a  a  a  a  a  a  a  a 
:■  aa  a  a  a_a  _  a  aa  aa:  a,  a  a 
a  a  aa  a  a  a  aa  a  a  aa.  a  a 
a  a  a  aa  a  aa  a  a  a  a  a a  a 
a  a  a  a  a  a  a  a  a  a  a  a  a: 
1  ui  1  a  a  a  a  a  a  a  a  a] 
.a  a  a  aa  a  a  a  a  a  a  a  a  a  a 
a  a  aa  a  a  a  aa  a  b:bb:b  a 
:a^aa  a  a  a  a  a  bb^hb  a  a  a 

:  a  bgb  a  a  a  :a  a  a  a  a  a  a 
;n  aa  aza  a  a  a  aa  aa  a  a  a 
a  a  a a  a  a  a  aa  a  a  a a  a  a 
a  a  a  aa  a  aa  a  a  a  e  aa  a 
a  a  a  a  a  a  a  a  a  a  a  a'  a  1 
a  mm  1111  a  a  a  a  a  a  : 
a  a  a  aa  a  aa  a  a  a  a  a a  a 
a  a  aa  a. a  a  aa  a  a  a a  a  a 
:a„aa_a  .a  a  a^a^aa^aa^a^a.  a 
jo  sa 


Fig.  381. 


■□■□■hbgbgbbgb  a:  a  a  a  a  •.■^■"■"-■'-■□□□□□□aaQCCJ 
aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a 
□□□□■""!■  )B  a  m  aa  a  a  a  a  a  ai:ai_aaaaaana 

[  a  a  aa  a  a  a  a  aa  a  a  la      am  m  m:..m._  b..bh..:B  a 
a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  a a  a 
a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa 
a  a  a  a  a  aa  a  a  a  a  aa  a.  a  a  a  aa  a  a  a  a  a 
a  ■      ■  aa  a  .a  a  a.  a  a  a  bbjb  a  a  a  aa  j 

a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  .am  a 
a  a  aa  a  a  a  a  .aa  a  a  a  a  aa  a  a  a  a  am  m  a  ] 
a  aa  a  a  a  a  aa  a  a  a  a  aa  a  aziQnHDHBDBOBDBn 
aa  a  a  a  a  aa  a  a  a  a  a a  a  a  a  a  aa  a  a  a  a 
-a  ■  11  1  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  a 
aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a . a  aa  a  a  a  a 
i  a  jbb  a  b  a  ■  aa  a  a  a  a  .aa  a  a  .a  a  aa  a:iaca 
1  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a 
a  a  a  . am  m  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  ../a 
[  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  .a  a  a  aa 
a  a  a  a  a  aa  a  a  a  a  aa  a  mm  m.  ma  a  a  a  a  a 
a  a  b  a  a  a  a  a  a  a  aa  a  a  a  a  aa  a  a'  a  a  am  j 
a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a. a  a  a  am  a 
a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  a a  b  a 
a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a  a  aa  a  a  a 
aa  a  .  a  a  a  aa  a  a  b  a  bb  a  a  a  a  bb  a  ]»□■□■□ 
1  22  ->■* 

Fig.  382. 


5,  7,  etc.,)  is  used  for  producing  the  figure,  while  the  ground  is  produced  by  the  even  numbered 
warp-threads.    Figs.  381  to  383  are  designs  illustrating  this  method  of  figuring. 

Fig.  381. 
picks. 


_aa 


IBGBDBGBLjBGBGBnBI 


:b  a  a: 
a  aa  ' 


:a  .a  a 


bb  a  a  a  a  a  a  aa  a 

-a  a  a  a  a  a  a  a 
a  a  :a  b  b  a  bb  , 
a  a  a  a  a  bb  b  i 

.  ,B  JB.JB  JBGBDBDBB 
B   B   B   B   B    BB  B 

a  a  a  a  a  a  a  a 
□ana  a  aa  a  aa 
aa  a  a  a  ■  a  a  aa      aa  a  i 
1  ■  a  .a  a  .a  a  aa      aa  a  a  ) 
1  a  a  b  a  a  aa  a  -aa  a  a  a  > 
1  a  a  a  a  jbb  a  aa  a  a  a  a 
a  a  a  ;a  ia  >a  aa  a  aa  a  a  a 
a  a  a  a  a  aa  a  aa  a  a  a  a 
a  a  a  a  am  m  aa  a  a  a  a  a 
1  a  a  a  a  .a  aa      aa  a  a  a  j 
1  a  a  a  a  a a      aa  a  a  a  a 
1  a  a  a  aa      aa  a  a  a  a  a 
1  a  a  bb  a  aa  a  a  a  a  a  a  ~< 
1  a  aa  a  aa  a  a  a  a  a  a  aa 
1  aa      aa  a  a  a  a  a  a  aa  a 
ia      aa  a  a  a  a  a  a  aa 

aa  a  a  .a  a  a  a  aa  aa 
a  a  a  a::  a  a  a  a  a  a  aa  a 
1  a  a a  a  a  a  a  a  a  am  a  a a 
1  aa  a  a  a  a  .a  a  aa  a  aa  a 
ia  a  bb  a  a  a  a  a  a  aa  a  a 
aa  a  a  a  a  a  a  aa  a  aa  1 
aa  a  a  a  a  a  a  aa  a  aa  a 
1  a  b  a  a  a  a  aa  a  a  a  a  a  j 


aa  a  a  a  a 
a  a  a  a  a  i 

a  a  ; 

a  a  a  a  a  a 

□□□□aDBDHDH 

a  a  a  a  a  a 
a  b  i 
a  a  a  a  a  n 
a  b  a  a  aa 
a  a  a  a  a  a 
a  a  aa  a  a 
a  a  a  a  a  a 
aa  a  bb  a  1 
BB'  a  a  1 
a  a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  .a  a 


a  a 
a  a 


1  a  a 

1  ibb  a 

ia  a  a 


a  a 


a  a: 


]■□■□■' 


a 


a 


Fig.  383- 

In  the  same  manner 
corkscrews  can  be  used 
in  Fig.  350. 


Fig. 


382 
383. 


Repeat : 
Repeat : 
Repeat : 


and 


20 


warp-threads 
warp-threads    and    1 2 
warp-threads    and  55 


any 
for 


design  s 
face 


filling 


picks. 

Fig. 
picks. 

Before  closing  the  lecture  on  the  corkscrew  weaves 
we  shall  briefly  refer  to  division  G  of  the  latter,  or 
corkscrew  weaves  in  whicJi  the  face  and  back  of  the  fabric 
is  produced  by  the  filing ;  the  warp  resting  between 
the  filling. 

This  arrangement  for  corkscrews  is  very  little  used, 
on  account  of  the  high  number  of  picks  required  to 
produce  a  close  face  in  the  fabric. 

In  Fig.  384  we  give  an  illustration 
of  the  7-harness  filling  corkscrew.  This 
weave  readily  explains  itself  as  the  mate 
to  the  warp  corkscrew  illustrated  in 
Fig.  350,  page  69,  the  raisers  being 
exchanged  for  sinkers  and  vice  versa. 
Repeat :  7  harness  and  7  picks, 
given  under  headings  A  and  B  of  the  sub-divisions  of 
by  proceeding  with  it  the    same  as  with  Fig.  384 


"■■■□□□□■■■□□□Q 
□□□BBBnCDOBBBa 
BanDODBBBCOnOB 

a        in  _  aa 

□□□□■■■□□c:dbbb 

TBBBnaDDBBBDron 
□□□BBBDDDDBBBD 

_ bbb  '    '  mm* 

m  BBB       .  BB 

□BBBCDrCBBB' 
1.  UJJBBBI  JLDGBBB 

1  7 


Fig.  384. 


75 


VIII.    Entwining  Twills. 

This  class  of  the  twill  weaves  (which  might  also  be  considered  another  kind  of  "broken 
twills")  is  derived  from  the  regular  twill  weaves  by  running  one,  two,  three  or  more  pieces  of 
twills  parallel  to  each  other  in  one  direction  (45  °  grading),  and  towards  these  twill  lines,  at  right 
angles,  a  second  system  of  one,  two,  three  or  more  pieces  of  twill  lines  (generally  of  equal  size  and 
construction  as  the  first).  This  arrangement  of  twills  meeting  each  other  at  right  angles,  the  one 
twill  continuing  where  the  other  stops,  and  alternately  changing  between  both  systems,  will  give 
the  fabric  the  appearance  of  entwining  twill  lines  or  set  of  twill  lines ;  hence  the  name. 

The  following  designs,  Figs.  385  to  396  readily  explain  themselves  as  such  twill  weaves, 
and  also  illustrate  the  manner  of  constructing  similar  original  weaves. 

Fig.  385  repeat:  8  warp-threads  and  8  picks.    This  design  is  constructed    B       «B  j"B  ■■ 
from  the  4-harness  ^  twill,  and  has  two  parallel  lines  of  twills.  "3  ■"■■  "■ 

Rule  for  Finding  the  Number  of  Harness  Required  for  Entwining  S^aS"^""^" 
Twills  : — The  number  of  harness  required  (or  warp-threads  in  one  repeat)  "■ 
is  ascertained  by  multiplying  the  repeat  of  the  foundation  twill  by  the  "g5  "■■ 
number  of  pieces  of  twills  used.  i5H  ] 

In  the  present  design  this  will  result  in  the  following  multiplication :  Fig.  385. 

4  X  2=8 

Repeat  of  foundation  twill  X  pieces  of  twills  used  ===  number  of  harness  required. 

It  will  be  advantageous  for  the  student  to  construct  additional  designs  of  entwining  twills 
out  of  the  4-harness  ?  ^  twill,  using  3  pieces  of  twills  =  12-harness; 

4  "  "      =  16-harness; 

5  "  "    '  =  20-harness,  etc.,  etc. 

The  rule  given  for  ascertaining  the  repeat  of  the  warp-threads  in  the  design  will  also  apply  to 
the  repeat  of  the  picks. 

Fig.  386  represents  the  entwining  twill  formed  with  the  6-harness  5  twill  and  four  pieces 

of  twills.    Thus  6  X  4  =  24  warp-threads  and  picks  for  repeat. 

.  abb  ;        ii ii        '  di  mmm  :  r        \  :ma  □□□  abba  h ii :  :bbbb  .  ii ]  bbbb    :  "  bbbb 

□  _■■  _BBB  .□.   BAB        BB   BKB    ;     BB  .BBfl  □!  JGBBBB       "     HII  B   111        BBBB  . 
□□□   BHJ     III        III      IDO           flflfl..]                                                                ;     BBBB  }     ,   1IDI     .  .    BB      BB  III! 
■□'Jill..    .  ■■■  .      Sflfl           BBB      IIIGJ                                                                  BBBB        /JHIII           SIIB  .  LBlMIII 

■  amm      ama  .    bbb      si  is  hi  ■■■■□□□□■■■■□□□□■■«■□□□□■■■■□□□□ 

!  III.       Ill         BBB         BBfl         ill         S  BBB     □□■■■■  .  ,  .    IBII   I        HUB  ■ 

■  ■■  ~  BBS  BBB  BBB  BBB  IB  Bl  ■  .BBBB  Bill  II  ;  II  II 
BB  .      Ill     :    III         BBB    Bl   BB     . 'BBB                                                                B           BBBB           BBBB  □  BBB   B  .    Z  III 

B»H         BBB         BBB      III           III  24        ;  Bflflfl  Rflflll  flflflfl  III! 

H      BIB        BBS         BBB           BBB      BBfl    J  B  BBfl  :  .  \   Bflflfl    B  Bflflfl        flflfl 2 

■■   BB        BBB   □   Bll    II        III   II     . □  BB  BB  Bill      ■■  ■■■■      ■■  _ 

BBB      BBfl        BBfl  ■■■  B  :  ,  Bflflfl         IBB!  [       Bflflfl  .  ■ 

□■■■Li'jBBBiii:".  BBfl       ■■■      ■■■    mm  ■■■■       ■■■■     .  ■■■■       wmmv  : 

; ::         :■■  :. :  ■■■  ■■      ■■■    ^  ■■■  ■■  i  bbbb      amm  m      !  icsbi  babih 

■  BB  Bflfl      Bflfl        flflfl        BIB  □.Bflflfl      ■■      A3  Bflflfl      _".  BBBB 

■□□lBbb  i  .  j  Bflflfl  h  ,    ..flflfl  :     i  ■■■■  '  :□  ■■■■  : 

II        III   II   II        III        111  r  ..'LMMj:]Jl"  JBM:  Bflflfl  Bflflfl 

flflfl    Ill        III        II  fl  flflfl        fl   flflflfl      ...    BBBB  BBfl 

..Bflfl         BBB         BBB    ....Bflfl        flflfl        ■  flflflfl.  II 

□□flflfl  :  :        ■■  flflfl    ^  BBfl      ■■■  .:  ;□  bah        b  bbb      .bbbb        bbbb  b 

□  □■■fl  HAS  BAB  flflfl  ■■■□□  ■■■■  .flflflfl  .BBBB  '□□  Bflflfl 
B        ■■■      ■■■  .  ;  .    flflfl    □!  ■■■■■■□                                                               □AAA        BBBB     .     .fl    BBBB  Bflfl 

aa      bb  flflfl  ]  mmm      ■■□  (    bb    bbbb  !      bb  >  bbbb  .  :    aa  bb 

flflfl  flflfl        BBB      BBB        ■■■□□□□■  t:     .■..■■■■□□□□■■■         BBBB  B  Bflfl 

BBfl      BBB         BBB  BAG        BBfl      flfl  flflflfl  BBBB  Bflflfl  Bflflfl 

□  flfl    BBfl         flflfl     □  mm    flflfl        BB   Bflfl  L       .flflflfl  ,        BBBB     ..     fl.  Bflfl  7  flflflfl 

flflfl         BBfl  Bflfl      flflfl    v.      BBfl  [flflflfl  flflflfl  II  BB  BBBB 

B      BBB         BBB  flflfl...       flflfl      flflfl     ]  □flflflfl  flflflfl  flflfl  ■  flBBB 

H    BBB         BBS  BBB    Z    BB   BB    Bflfl  flflflfl  flflflfl  flflflfl  □.] 

□  ■■■□□□■■■  .  ]  .  Bflfl        ■  III  '  '  -  DBAS        '  AAAA    I  III  ■ 

amm      mmm  flflfl  .    hba      bb  ■■        ■■■■        ■■■■    ■■  .  flfl  ■■ 

^■^^^■■■□□□■■■□□□■■■□■■□Bfl^^»B  1|     ..   BBBB  flflflfl      -flflfl  BBfl 

1  24  1  '.'l 

Fig.  386.  Fig.  387. 

Fig.  387  illustrates  the  entwining  twill  produced  with  the  8-harness  ^  twill,  having  three 

pieces  of  twills  for  the  construction.    8  X  3  =  24  warp-threads  and  picks  in  one  repeat. 

In  accordance  with  designs  Figs.  386  and  387,  and  their  methods  of  construction,  the  fol- 
lowing designs  may  readily  be  produced : 

*  3-6-harness  twill     \     X  2  pieces  of  twills  =12     f     repeat  of  warp-threads 

for  foundation  weave     j     X  3      "  "     =  18     \  and  picks. 

 5-8-harness  twill     )     X  2      "  "    =  16     f     repeat  of  warp-threads 

for  foundation  weave     j     X  4      "  "     =  32     I  and  picks. 


76 


A  sub-division  of  these  entwining  twills  is  produced  by  forming  squares  surrounded  by 

parallel  twill  lines.    The  squares  thus  produced  may  be  filled  up  by  other  twills,  basket-weaves, 

rib-weaves,  etc.,  or  they  may  be  left  empty.    In  this  manner  designs  Figs.  388  to  395  are  formed. 

■□□□□□■■■□□□□□■a  1 □□HQayBgnnEHpgig 

■■     ■  ■■■   :  ■  ■  .pa    ■  _5  ■ 

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Hdbbb  '    ■■  —  aa    9B  aa 

:         ■    '  mmnm  r.aa  a    a  ■■  ■  a 

■■■  ■■■  bbb  bbb  i  bb    ■■    ■■    «a  :■  ' 

i"S*_  mmm  "Czmmr  m.::.n.  ■■  ■  .  a.  bb ' 

1              a  i  s 

Fig.  388.  Fig.  389 

Fig.  388.  Repeat:  8  warp-threads,  8  picks.  In  this  design,  which  is  constructed  from  the 
?  g  8-harness  twill,  the  squares  produced  by  the  twill  lines  is  left  empty. 

Fig.  389 — repeat:  8  warp-threads,  8  picks — is  produced  from  the  -  g  8-harness  twill;  the 

squares  produced  by  the  twill  lines  entwining  each  other  at  right  angles,  is  filled  out  by  the  two 
centre  warp-threads  interlacing  with  the  filling  in  the  shape  of  a  4-harness  twill. 

n      a  e  hh  ■  ~  '  a  a  111 

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BBB    I   ■■■  ] j   IBB         BBS        ]  BB      BB    BB  i  BB      B  C    BB    SB  BB    BB  j 

.  BBB    BBB    a         BBB    BIB    a  a  .BB     .BB   IB      aa  .BB      BB  □■■□BB      B  .    a    aa      BB   BB!  ]□ 

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C      BBB         B   aH   •  BBB         E   E  [  EE  I  BB      BB         BB      BB    BB     ]  a      BB    BB      BB        BB    .  BB  BB 

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mmm  j.  mmm      mmm    -  mma  cmm  :  11  n  ;  bb      bb    bb  j  bb  bb      bb    bb.   be  11  .  .j 

IBB  a   BE9B   BBS  HZZIE   8KB  1BB-.BB.  .      BB      BB  BB'_..:BB'-:J  1  BDBBnDBBDBBDEDDBBDBBtJDBB 

1  is  1  io 

Fig.  390.  Fig.  391.  Fig.  392. 

Fig.  390 — repeat:  12  warp-threads,  12  picks — is  produced  from  the  §  12-harness  twill; 

the  squares  in  this  weave  being  filled  out  by  the  motive  ^ — l — l— g  twill. 

Fig-  391 — repeat:  16  warp-threads,  16  picks — is  produced  from  the  ^—^ — ^  16-harness  twill. 
Fig.  392 — repeat:  16  warp-threads,  16  picks — is  produced  from  the  — { — 16-harness  twill. 

c:  :es:"  :  :bb'  •:":bb"7..:bb  ^  :ee'    be  :  'BB" ::  bb  b'j.  m  bb""      :  b  ^  t-x-i  be    b'  '  a.  bb:_~ 

E   E_    BB      BB    B     .BB    B    B      EE.'-E  ...  BBH  BB      BB      BB      BE      aa    aa      aa      BB  B 

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LB   BB      BB   B  j  .BB      BB      BE      B   BB      «  i     BI      BB      BB  .    BB      a  i   EE  ,   KB  BB 
'     BB  .    BB      EE  !    BB    i  BB   ,             BB      BB  IB      BB    B      BB    BB  BE    BM      BB  B 

BB      BB  .a  BB      BB      B    BB      KB  BB      BB      BB.  I1!  .BB  KB      BB  fl 

BB      BB      aa      EBj    BB      BB      BB      BB  ,1  B      KB    BB    BB  .    BB    aa    BB    BB      BB  BB 

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!  BB  BB  BB  BB  BB  EE  BB  BI  BB  BE  BE  KB  &  BH  BB  .EE  B 
B      BB      BB  j   B   IB      BB    B      BB      BB  .     B  BB   BB      BB   BB     .BB         BB      BH   EE  E 

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B      BB      HH      HI  »    B'J    BB    B   B      BB      H  E      H    HH      HB      B      BB    BB      B      B    KB.  ) 

BB      BB      BB      BB      BB      BB      BB      BB  BB      BB      BB      EE      BB    BB      BB      Bl    _  16 

E   B      HH      HH    H      HH    B   B      BB   B      HH  .  B      HH      BH    H      B      BB   BB      B      BB  .BB 

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B    HH  _    BB    B      BB"    BB  B    BB      B  !  BB  .:   HH   B      HH   BB  BB    KB      BB  B 

t     BB      BB  .BB      BB  BB      Bl  II      IB      BB      BB      BB  IE      SI  H 

hh    hh  a    a  a    hh    hk    a  hh  :  bb  j  a    bb  bb  bb    bb  aa  aa  bb    kb  a  a  j 

bb    bb    aa  .  aa  j  aa    bh    bb    bb  r  bh    aa    bb    aa    a.  bb    hh    bb  i 

ii  bb    e  be  e_e .  bb  bb..  b  bb  j  1.  bb_.be  be.  bb    bb  ......bb  ..~bb_ee  e 

Fig.  393.  Fig.  394. 

Figs.  389,  390,  391,  392,  as  well  as  the  following  three  weaves,  Figs.  393,  394  and  395,  show 
the  twills  interlacing  each  other  thus  b,  while  the  weave  used  for  filling  out  the  squares,  produced 
by  means  of  the  latter,  is  shown  thus  e. 

Fig.  393,  repeat:  24  warp-threads,  24  picks.  In  this  design  an  additional  entwining  arrange- 
ment of  twills  is  used  for  filling  out  the  squares  produced  by  the  main  entwining  twill  lines. 

Fig.  394,  repeat:  23  warp-threads,  23  picks.    In  this  design  two  kinds  of  basket-weaves  are 


77 


used  (alternately)  for  interlacing  warp  and  filling  in  the  places  of  squares  produced  by  the  main 
entwining  twill  lines. 

Fig.  395,  repeat:  24  warp-threads,  24  picks.  In  this  design  a  pointed  twill  is  used  for  filling 
out  the  squares  produced  by  the  entwining  twill  lines. 

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aaa      mmm  a  a    ■■■  ■■ 

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a  ■■■      ■■■  a  ■■■  ■■    ■  mm    mm    mmm  mm 

a  "  "  mmm      mmm    ma  mmm  i  mm'  mm    mm  :  ■■    a  ma 

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1  24  1  13 

Fig.  395.  Fig.  396. 

Fig.  396 — repeat:  23  warp-threads,  24  picks — illustrates  the  novel  combination  of  an  entwin- 
ing twill  and  suggests  the  great  variety  of  weaves  which  can  be  designed  for  this  sub-division  of 
the  regular  twills. 

IX.    Twills  Having  Double  Twill  Effects. 

These  twill  weaves  are  obtained  by  connecting  two,  three,  four  or  more  parallel  twill  lines, 
in  one  repeat,  with  another  twill  line  (main  line)  which  runs  in  an  opposite  direction. 

Rule  for  Constructing  these  Weaves. 
Run  your  main  twill  at  a  grading  of  45 0  in  a  direction  from  left  to  right  over  the  entire 
repeat  of  the  weave  (see  ■  in  weaves  Figs.  397,  398,  399  and  400);  next  run  the  other  twills  at 
right  angles  to  the  first  mentioned  twill  (see  a  in  weaves  397  to  400)  and  stop  so  as  to  form  a  clear 
□  EOjQDB«aacDHa«    connecting;  spot  (and  without  running  both  twills  into  each     aaa  a   aa   aa: .  ■ 

aa    ma    aa    ih  b    i       \  •=>  mm    aa    aa  a 

aa  ^aa"  *a  :S.B"  !      other).  P  aa  °^^.SSS 

tb  ■■  a    a  am  a  ;  7  Br^  aari  aa 

■!Ba  na  ■■"a  "a  Figs.  3Q7  to  400  are  weaves  designed  in  this  manner,     caa  "aa  kbbBB5hR 

■■    aa    mm    aa  t>     j^/         -r  t>  l   bb^  a  aa 

6"  aa         aa  S«S    and  clearly  illustrate  this  sub-division  of  twill  weaves.  aa  ::a  aSSS"  aa  3 

a    a  aa  a    a  aa  j  i  aa    bebb  a  aa 

Pr.S'g^-SPsj           Fig.  397.     Repeat:  8  warp-threads,  8  picks.    "Main     a  ^aSBBV 
i?S"J5h°iS^lai3     twill"  is?          =  8-harness,   "cross-bar  twill   or  double  4SSS"aH^a^ 

Fig.  397.  twill  effect "  ?          for  2  warp-threads.  Fig.  398. 

Fig.  398.  Repeat:  16  warp-threads,  16  picks.  "  Main  twill"  4  s  =  16-harness.  "Cross- 
bar twill  or  double  twill  effect"  ?  5  for  5  successive  warp-threads. 

-->:  aaa~  -  aa  bb 
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aa      aaa      bbb      a  a    a  a    aa-  bb    b  aa  ■■ 

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:  aaa      a  bbb  aaa::n  aa    aa    aa    bb  „    ■■  „  aaa 

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a      a  bbb  aaa      aa  aa  tb  bb    bb  a    i  ^-S"^RP,RRnPn 

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.  a  bbb  aaa      aaa  a    bk    bb    aa    a  bb  aaa  ? 

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;bbb  a  ;  aaa      aaa  aa    aa    aa    aa  !  ■  „  ■ 

1BBBCBBBCCCEBBCCCBC  .  iBBCTBBCBCCBBCTan  lBCBCCCBBaCCB 

Fig.  399.  Fig.  400.  FIG«  4OI« 

Fig.  399.  Repeat:  18  warp-threads,  18  picks.  Main  twill  3 — =  18-harness.  Cross 
bar  twill  or  double  twill  effect  ?  -3. 


78 


Fig.  400.    Repeat:  16  warp-threads  and  16  picks. 

The  main  twill  in  the  present  design  is  2— -z — — To  —  16-harness.  The  "  crossbar  twill,"  or 
double  twill  effect,  is  the  2  rL  4-harness  twill. 

Twills  of  a  different  grading  than  45 0  for  the  main  twill  line  can  also  be  used.  For  example, 
steep-twills  of  630,  700  or  75 0  grading.  Again,  the  cross-bar  twill  may  be  changed,  if  required, 
to  a  like  different  grading. 

Fig.  401  illustrates  a  fancy  twill  of  the  present  division  constructed  from  the  63 0  steep- 
twill  derived  from  the  4  -  =  24-harness  foundation-twill  for  the  main  twill,  and  the  -  s 

=  6  harness  45 0  twill  for  the  double-twill  effect. 


r 

4 

* 
\ 

3 

2 

t 

X.    Twill  Weaves  Producing  Checkerboard  Effects. 

This  sub-division  of  the  twill  weaves  is  obtained  by  combining  any  of  our  regular  twills, 
warp  for  face,  with  the  same  twill  weave,  filling  for  face. 

a  b  Rule. — Divide  the  repeat  (equal  distance  for  warp  and  filling)  into  four  even 

squares  (see  diagram  Fig.  402),  and  insert  the  twill  weave,  warp  for  face,  into 

every  uneven  numbered  (1,  3,)  square,  and  the  twill  weave,  filling  for  face,  into 

every  even  numbered  (2,  4,)  square. 

The  direction  of  the  twill  in  the  warp  effect  must  be  opposite  to  the  twill  in 

c  the  filling:  effect;  hence  if  running  the  direction  of  the  twill,  in  the  present 
Fig.  402.  0  0  r 

abed  repeat  of  example»  f°r  the  warp  for  face  effect  from  the  right  to  the  left,  we  must  run  the 

weave.         direction  of  the  twill  in  the  effect  having  filling  for  face  from  the  left  to  the  right. 

This  direction  of  running  the  twill  is  illustrated  in  the  diagram  Fig.  402  by  the  four  arrows. 

Another  point  to  be  kept  in  mind  when  designing  for  this  kind  of  weave  is,  that  in  places 
where  the  warp  and  filling  effect  meets,  a  clear  cut  must  be  produced;  vice  versa,  change  from 
sinker  to  raiser  or  raiser  to  sinker. 

For  illustrating  the  foregoing  rule  weaves  Figs.  403  to  41 1  have  been  constructed. 

Design  Fig.  403  illustrates  the  checkerboard  effect  obtained  from  combining  a  double 

repeat  of  the  3-harness  twill  -  j  with  a  double  repeat  of  its  corresponding  filling  effect  tz. 

Repeat:  12  warp-threads,  12  picks. 

Design  Fig.  404  is  constructed  from  the  4-harness  r  and  1  §  twill.    Each  effect  used 

for  four  successive  warp-threads  and  picks  equals  one  repeat  of  the  weave  in  the  warp  and  filling 
effect.    Complete  repeat  of  the  design  calls  for  8  warp-threads  and  8  picks. 


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403- 


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Fig.  404. 


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B    B  BBBB. 
B  BB  BBBB 

□□□^□□□□■■□■■« 

□  □^□^□■□■■□■B 

□B  J  IB  BBB  BB  'I 
a  .  :   BBBB . BB  j 

f*   BB   BBBB  B 

■  mm  mmm  ] 

BB  IBB    BB  a 
■BB  ■■    B  B 

■  BBB    BB  IB  ' 

□■■■■□■■  1./JB  ;□□  ";b 

■  :■■■■  ■  a  .  a 

!■■□■■■■□□□□□□□□□ 

1  8  1(5 

Fig.  406. 


i-'  a  •  •  'a  '■■■  "■ 
a  ■  mam 

mmm  ma 
]  mm  Baa 

B        iB   BBB  B 
B   B    BBB'  i 

'     ■■■    ■    B   r  J  IB 

■  bbb  a 

BBB  BB  : 
BB  ■■■ 
BBB    B  B 

ib.  bbb  a  a 

1  6  12 

Fig.  407. 


Fig.  405  illustrates  a  similar  arrangement  as  explained  by  weave  Fig.  404,  applied  to  the 


5 -harness  twil 


and 


Repeat:  10  warp-threads  and  10  picks. 


Design  Fig.  406  illustrates  the  checkerboard  effect  derived  from  combining  the  8-harness 
twill  2— I — - — j  or  warp  face,  with  — ^ — x—rz,  being  the  filling  for  face  of  the  same  weave.  Repeat : 
16  warp-threads  and  16  picks. 

Design  Fig.  407  represents  the  checkerboard  effect  derived  by  combining  the  4-harness 
broken  twill,  warp  for  face,  with  the  same  weave,  filling  for  face.  6  warp-threads  and  6  picks  or 
equal  1^  repeat  are  used  for  each  effect.    Repeat:  12  warp-threads  and  12  picks. 


79 


Combination  of  Warp  and  Filling  Effects  from  a  4.50  Twill  Weave  after  a  given  Motive. 

The  next  step  towards  figuring  twill  weaves  is  found  in  combining  the  warp  and 
filling  effect  of  a  regular  twill  (the  same  as  used  in  the  preceding  chapter  on  checkerboard  effects) 
after  a  given  motive  (idea  of  a  figure  as  desired  to  be  made).  Weaves  Figs.  408^  and  410 
illustrate  two  examples,  which  readily  explain  their  construction  after  the  motives  given  in  Figs. 
408  and  409. 


1  :  mm  :  m\ 

1  4 

Fig.  408. 


Motive  for  weave  Fig.  4080 
4  warp  and 
4  filling  changes. 


■  a*  iihb  ■  ■  ana  ana  ■  ■ 
4  J  ■  ■■■  ■■     ■      ■  ■  ■■■  urn     a  ■ 

j  ■■    ■■■    ■    ■  ■       ■■    Elf ■    ■    ■  ■ 

MRO    III    ■         ■         ■■■    ■■■    ■  ■ 

□■■■a;  i  ■  '  ■  una 


□□c 

2  <  CMC 


(  B         ■   ■■■   DUX  ,      ■  ■ 

J      aaa  aa    a  mm 

1  a  a  ■■  mmm  mm  mm 
(.m      m     mmm  mmm  aaa 


Fig.  408a. 

Weave  derived  out  of  motive  Fig.  408. 
Repeat :  16  warp-threads,  16  picks. 


Fig.  408  represents  a  motive  after  which  weave  Fig.  408^  is  constructed.  The  motive 
calls  for  four  changes  in  effect  in  each  direction,  which  equals  (4X4  =)  16  possible  changes 
over  the  entire  surface  of  one  repeat  in  the  motive.  In  the  design  (weave)  Fig.  408^, 
4  warp-threads  and  4  picks  are  used  for  each  change  in  the  motive,  and  the  4  harness  twills 

1  3  and  3 — —j  (warp  and  filling  effect  of  the  same  regular  twill)  are  used  for  interlacing 

warp  and  filling. 

The  rules  given  under  the  head  of  checkerboard  effects  also  apply  to  this  sub -division. 


■■nnnn  ■  ■■■■■■  -  a  ■  mam 
m  mm  m  mm  mmm  ■■■■■■■ 
■■  :■  B  ,  ]  m  .  mm  mmm  mm  a  mm  m 
mmm  m      m      mmm  mmm  ■      ■      ■■■  1 

■■a  aaa      a      a  aaa  dii    .  a  a 
a  aaa  mm    aaa  .aaa  mm    a  a 
aa  mmm  a  a      a    aa  aaa  a  a  a 
aaa  aaa  a  u  a  ,  ,  ■■■  bbb  b  b 

B      m  JBBB  jBBB       b       b  .bbb  bbb 


m  m  mmm  mm  ,  m 

I      II   BBB   B  B 

i  mmm  mmm  m  ,  , 


IBB  ■■     a  ; 
mmm  a  b  , 
1  aaa  a 
b  aaa  aaa 


SB  BB 

□   BB  'BB 

BB  ]□■■□□ 
1?..?D..H 

Fig.  409. 

Motive  for  weave  Fig.  410 
4  warp  and 
8  filling  changes. 


iBBB  .BBB  1  . 
B  BBB  IBB  :\  I 
BB   BBB   B  B 


BBB   BBB  B 


Fig.  410. 

Weave  derived  out  of  motive  Fig.  409. 
Repeat :  16  warp-threads,  32  picks. 


Fig.  409  represents  a  motive  after  which  weave  Fig.  410  is  constructed.  The  motive  calls 
for  four  changes  warp,  and  eight  changes  filling,  ways,  which  equals  (4  X  8  =)  32*  different 
possible  changes  over  the  entire  surface  of  one  repeat  in  the  motive.  In  weave  Fig.  410,  4  warp- 
threads  and  4  picks  are  used  for  each  change  in  the  motive,  with  the  4-harness  twills  ?  j  and 

1  §  for  interlacing  warp  and  filling. 


80 


XI.    Fancy  Twill  Weaves. 

The  next  plan  for  designing  twill  weaves  is  that  of  combining  basket  weaves,  rib  weaves, 
etc.,  arranged  in  the  shape  of  twills,  with  any  of  the  regular  twills  as  may  be  desired. 
Weaves  Figs.  411  to  421  illustrate  a  few  such  examples: 


16QI 


■■'  be'  m 

■  .  bec  ■■ 

L EE  ■■■ 
[  EE  III 
□  .    ■■■  B 
E   ■■■  B 

[  ■■■  be  . 

■BBDDBEI  ] 

1  8 


Fig.  411. 

0       ,    f  8  warp-threads, 
Repeats  0    •  1 
^       \  8  picks. 


121 


BEE  I 


]E  HQ 


L  HH 

H  '_] 
H 

H  ' 
□QQI 

□□□□■■■□□□□a 

H    ■■■  HHH 
H    ■■■    H  .  HH 

l ■■■    HH  .    .  HH 


Fig.  412. 


Repeat :{  12  warp-threads, 


2  picks. 


HH 


■  ■  HH 

[  ■  HH 

■  HH  X 

[  HH 

hh  : 
hh 

HH  ■  I 
L  HH  B  fll 
HH  fl  flfll 
HH : ■  HHH 

■    ■■■  I 

;  ■  ■■■  ■ 

IBDBBBDBDE 


■  ■ 

■  I 

H  ]□ 

HH 
HH 

□I  II  ] 
E   !  ] 
HH 

H9 

16 


Fig.  413. 


R^-{:66;rrhreads' 


1'Bfl        HHH  HHH  ■ 

■  HH        H   HH  ■■ 

HH        HH  ■■■ 

l  HH    H         HH   '  ■■■  J 

L  HHH   HHH  ■■■  :□ 

H         H   HH      flflfl  H 

H         HH.        ■■■  H 

H         HH      IBB)      HH  I 
HHH         BSi      :  HHH 

e  hh  .  mem    hh  .j 

HH  III  HH  i 
HH      III      HH  H 

msm       HHH  HHH 
■  ■■      HH        H  HH 
L ■■■         HH .       HH  J 

■  flfl      HH.  B        HH.  : 


Fig.  414. 


Repeat,  j  l6  picks 


■      HHH    HHHH  Bfl 
HH    H  H  BBB 

H    H    HHHH  III! 

I  HH   H    H    .        BBS  J 
H   H   H    H         ill  ] 
HHH      flflfl  H 

HHH  H  H  BBB  H 
[  H  H  BBB  HHHH  1 
HHH  III  HHH'  H 
:  H  .BBB  TJ  HH.  H  J 
HHH    BBB  H    H  H 

i        BBB         HH  EE! 

HBB  H  H  E.  E  ) 
I  BBB  E  E  E  E  ! 
■BBB  EE EE   E   E J 


Fig.  415. 


RePeat:{!6plclfs"'.threadS' 


1C3  '".  -Jll-JI".  EEEJ 
H  J  II  ■■  .  HE  H 
E  Bfl  II  1  H  EH 
ELJflfl  MM   EEEE  HHH 

i  mm  ma    ehh  e 

IB    BB  :  .    EE   EE  . 
■   BB  B 

L BB    HHHH    EEEE  BR 

I  II  ■ 

H  EHH  BB  II 
EEEE   EEEE    HI  II 

EEE   E  II   II  ! 

EE   EE  BB   KB     .  J 

E   EEE  II  II 

1   EEEE  IB..  .BB  EEEE 

1  10 


Fig.  416. 


Repeat:  j  J6 


6  picks. 


0<  B      BB      EE  "  B 

BB  HH  BB 

l mm  HHH  BB  J 
mm  EEE  BB  1 
B  EE  BB  .  tl 
□[ZEBU 


_    BB  US 
EE      BB      BB  H 
EE    BB      Bfl...  H 
I     ■■      BB    HH  J 

BB  BB  l.  .EE  J 
BB  BB  . EE  i 
B  BB  EEE  ■ 
.  BB  EEE. BB 
[  BB  EE.  BflJ 
BB  EE  BB  ) 
B  EE  BB  .  B 
[.  EEE  BB  BB 
[  EEE  BB  BB  J 
E  BB  BB  E 
E  BB  BB  E 
E  BB  .  BB  H 
[  BB  .BB  EEE  J 
EEE  J 


BB  I 
IB  HH 

I  HE 

EE  _ .  J 
EE  J 


:■ 

EHH 
EEE 

I 

Bl 

[  BB: 


EE 
EE 
EE 


:h  BB 
:h  no  1 
■i  1 

BB_  .  ■ 
tB  BB 

I  II  I 
■  I  1 

II  HH 

II  HE 

I  EE 

EEE..  J 


■  I  J 

:  ■■  1 

]■■□□■ 

BB  BB 

i      BB  I 
BB  j 
BB 

IB  EEE 

I  ..EEE 
EE 


1-2 


Fig.  417. 


Repeat  :[\2' 


60  picks. 


1 II  BBB  HHH  EEE  B 
B         BBB  BB 

BBB  .      H    HH  BBB 

BBB  EEE  H HE  BBB  1 
.  BBB      EE  BBB  ] 

BBB        E   EE      BBB  .) 

Bfl  EEE  EEE  BBB  B 
B      EE  flflfl  BB 

BBB.  BBB 

EEE  EEE  BBB  .  :...■■■...} 
EE'  E  .  ill  1  :  Bflfl  J 
E  .EE      HH  ,  J 

L  EEE  .flflfl^..  Bflfl  EEE 
E  BOB  ;  Bflfl  EE  i 
E  .:  flflfl  1  .Bflfl  E  E 
E  flflfl  .  Bflfl  EEE  EE 
!  BBB  :  flflfl  EE  E 
:  Bflfl         BBB         B    EE  ■ 


Fig.  418. 


-     H   E   IB  .Bflfl'  mm  EEEEB 
E  .^□■■□■■■LBB   E  1 
Hfl   flflfl   HI  HHHHE 
B    KM    III  BB 
I.  ■■  .flflfl   «■   E   E   EEE  EE 

■■         . mm  e 

■  flflfl  flfl  E  E  E  H 
[  Bflfl  flfl  E  E  E  .flfl 
Bflfl  mm  B  E  E  ■■  ] 
flfl .  All  E   E   E   Kfl  ■ 

■  B 3  HHHHE  H  H  Kfl  flfl 
L  flfl  H J  .  E  Hfl  EBB 
Bfl  EBB EH  Hfl  HEB  J 
B  -E  Bfl.  Bflfl  H 
:  E  E  EEE EE  Bfl  III  SB 
E  E  B  .  Hfl  BHfl  K.R  j 
B  E  B  flfl  flflfl  KB  1 
E   E   E  .      flfl   flflB  .EH 

E   E   H      flfl    Bflfl  EH 
IB   E   E   BB   flflfl  HB   : 


Fig.  419. 


T3       .    f  1 8  warp-threads,  r>^  ^.  .  f  20  warp-threads, 

RePeat:\  18  picks.  RePeat'{  20  picks. 


flfl     'flfl   EE      EE      EE      flfl  fl 

■  Hfl  HH  EE  HE  BB  BB 
[  flfl  BE  HH  HH  HI.  BIB 
'.  II  EE  BB  .:  BE:  HH  BHfl  '. 
BB    EE      EE      HH    1  HB  111 


HE  .   BE  J!  BB      Bflfl.  BB 
HE  .   HE    BB      III      IB  I 
EE  .  'flfl.  :  Bflfl  ;  flfl  H 
EE    flfl.      flflfl.  ]<1  Hfl    .  E 
EE      flfl  ii  HHfli  'I  flfl   BE  J 
EE    flfl      III      flfl   .  EE  i 
IB      III      BB   EE  E 
BH  .   Ill   i  flfl      EE  H 

■  ■  :  iHflH    I  flfl    EE  BE'J 

■  i  :  flflfl.  "  flfl  HH  I 
;  .flflfl  :  flfl  EE  EE  B 
■  flfl  j;  flfl      EE      EE  E 

■  BB.  j.  Bfl  EE  HH  HE  J 
BB      Bfl      EE      EE      EE'  J 

■  flfl  EE  EE  EE  ■ 
..    .Bfl      BE      EE      EE  flfl 

Bfl    EE      EE      EE      flfl  J 


SBBBDDnBBBnBDDnBDnni 
□■□□□■□□□■□□□■□■BBl 

b     .b:  :bbb      flflfl  h  ; 
■■■  a      ■      m  si 
■      ■      ■  flflfl  I 

□■□■■■□□□■BBDBDGCfl: 

■■■□■□□□■□□□■□□□■□I 

^□□□BDDDBDBBBDDDBBBL 


jDBD 

■flfl 

i'  ? 
■■■ 
i  Ij 

jfl. 

i "!'  n 

DUUB 


Fig.  420. 


Fig.  421. 


Repeat : 


24  warp-threads, 
24  picks. 


Reoeat  ■  /  24  Warp" 
Kepeat.  |   8  picks 


threads, 


81 


XII.    Pointed  Twills. 

Pointed  twills  constitute  the  next  sub-division  of  twills,  and  are  derived  from  the  latter  by 
means  of  point  draws  (previously  explained  and  illustrated  under  the  head  of  drawing  in  drafts, 
page  33).  The  plainest  "point  draw"  calls  for  each  harness  in  rotation  (beginning  at  number 
one,  or  front)  until  all  harnesses  are  taken  up.  Next  proceed  to  draw  the  rotation  of  harness 
backwards  until  you  get  on  to  the  starting  point.  The  first  and  last  harness  of  the  set  (represent- 
ing the  front  and  rear  harness),  technically  known  as  "  point  harness,"  are  drafted  only  once ;  thus 
requiring  only  one-half  the  number  of  heddles  compared  to  the  others.  If  using  a  fancy 
point-draw,  use  the  point  harness  in  the  one  effect,  straight  in  the  next  effect,  and  vice  versa. 


i    ■■     ■     ■       ■■■■       ■■■■       ■■     ■■  15DGB  ■'  ■  ^■□□■■□□■□□□■□□□■nr  ■■■ 

■■    ■    ■    ■    ■    ■    ■■  ■■    ■    b    ■    ■    ■    ■■  1  ■    ■    »  a    ■■    ■    ■    ■  ■    ■■■  1 

■■    ■    ■    ■■■    ■    ■    ■■■    ■    ■    ■■■    ■    ■    ■  ■    ■■■    ■    ■■    a    ■■■    ■  ■■■ 

■  ■     ■     lain     m     a     a     b     ■     niiii     cm  mm  mm      ma     a     bbbbb      mam  m 
m    m    mmm  ■■■    ■    ■      ■    ■    bbb  bbb          bj  1  bb:  1                      ■■■  ■■■  ■■■  ■ 

■     ■     mmm      mmm     m     ■  ■     ■     sn      mmm     ma  mm     m     mum     m     amm      emmmrn  m 

■  ■    mmm    m    mmm    ■    ■    ■    mmm    m    mmm    mi  ■■una    bbb    ■    ■■■    ■  ■ 
1 — ■■!*«■■                  ■    Baa    ■  ■    mam    m      m    mmm  :  m  m  .  mmm    a  m      m      m    mmm  ■■■■■■ 

mm  mm  mm  mm             1  ■    ■■■    ■      ■    ■■■    ■  m    mmm    a      ■    ■■■    a  ■    ■    ■  ■    ■■■    mm      n  bb 

■■      ■■■      ■             ■    ■■■    ■    ■    ■    ■■■    ■    bbb    ■    ■    ■    ■■■    1  a  .  mmm  :  m    mmm    m    m    mm  mm 

■    ■    ■    m    }                mmm    m    m  m    a    mmm      mmm    ■    ■  ■    ■    bbb  i  iiiei    _  mam    m    mmm    ■    ■■  ■ 

4    ■■■      nil                 mmm    mm      mm    mmm  mmm    m    a      m    a    mmm  1  in  ■■■  bbb    b    bb.  bb      bb  b 

■■  ma  ma  bb             bbb     a     m     n     n     a     mmmaa     a     a     w     a     a     m&  mmm      mamma     a     aa      ma  aa  a 

Bb      in      b             bb    b    b    bbb    a    a    bbb    b    a    in    bbb  bb    b    bbb    b    bb    a    bbb    b  b 

ib_Jb.::"b.  ::.:b_j           ib  .  :bgcbggbbbbbgjbjjb.  "bggbggb: :.  :bbbbbljubl^b^j  '■□□■□■□□■^□■□□■■□□■□■n[  a    m  mm 

Fig.  422.                                        Fig.  423.  Fig.  424. 


Fig.  422  illustrates  a  "  point  twill  "  composed  of  the  -  4-harness  twill  executed  on  the 

regular  4-harness  point  draw,  1,  2,  3,  4,  3,  2.    Repeat:  6-harness  and  4  picks. 

Fig.  423  represents  a  "point  twill"  composed  of  the  21-harness  3  a  1  a  1  2  2  2  1  2  1  2  regular  twill. 
The  point  draw  required  is  as  follows:  1,  2,  3,  4,  5,  6,  7,  8,  9,  10,  1 1,  12,  1 1  10,  9,  8,  7,  6,  5,  4,  3,  2. 
Repeat:  22  warp-threads  and  21  picks,  requiring  12-harness  point  draw.  This  will  illustrate  that 
the  entire  repeat  of  a  regular  twill  must  not  be  used  in  the  construction  of  its  "point  twill,"  as 
in  the  present  example  only  12  threads  of  the  regular  twill,  with  21  threads  for  repeat  in  weave 
are  used,  (9  threads  being  entirely  omitted). 

The  second  kind  of "  point  twills  "  is  designed  from  the  regular  twills  by  means  of  a  "  fancy 
point  draft."  For  example,  weave  Fig.  424,  which  in  its  mode  of  construction  is  designed  from 
the  3  1  2  „  1  „  15-harness  twill  by  means  of  the  following  fancy  point-draft:  1,  2,  3,  4,  5,4, 
3,  2,  1,  2,  3,  4,  5,  6,  7,  8,  9,  10,  11,  12,  11,  10,  9,  8,  9,  10,  11,  12,  13,  14  and  15. 

:  b  ■  ana    b  a    a  a    m  ■□■□□□□cbcbcb'    □  a 

B  B  .      B      B      K  LB   B        B    B   B   B        B  B 

a    a      a         a      a.  l  a  a  a  a      a  a  m  u 

[  a    a  b  b  b    a  bbb  bbb 

CBGCHGGBGBGGHGGB  □CQDCJBLT.  X2T      B:     B      B  1  QGp.  B   B        K  -■-■□HH 

an      a      b  :  a  b  b  a  ana  bbb 

B      B    B      BB    B.']  B      B        B  B  .'      B     J  B   B   B   B  B   B    B  Bj 

I  B      B  !     ^B      B      B        BBB  BB        BB.  BB  BB 

CBGGnBCBGCrB  □□□BIB '.    B      B   B!    :  B      B   B      B   B      B   B      B  B   B  BBB  B 

a  a      a  bj  :   b      b      b      bj  ,  b    b      b  .  b    b.     b    i  _■_    a  h  a 

e    a    b    a    i  :  b    bj  b  b    a  .  a  i"  b    a  a    a  a    a  a    a  u'"_"      •  _■_ 

□□BnBDGCBCBD  BGGHQHQGBQGHQHQQ  GGBGGQGl  B        B      B      B  B   B        B   B   B  B        B  a 

"  B        B   B        B  8GBGOQGGBGBGGHGCB  B      B        BBB        B  B   B   B   B        B   BBB  : 

BJCBGLarrajG  ghb;  .□■"bg^cbgcgbg  lb    b  a    a  a  .a  b.:.  □  cg  ;b  a  a  bbb 

o  ■      a  a      a  a    a  a    a    mm  a    a    a      a    m    a  a  b      a      a  a 

a  a      a  b  a    a    a  a    a    a  a    a  a        a    a  a:: .:.  a  □□□a  b  b  bbb 

HGGBGGCSGQBGG  B      B   B      B      B   B  HGGBGGUB  IGQGGBGGGBDG  B   B   B   B        B   B   B  B 

B    B        B   B  B         B         B      ...  BJ  L     BJ   B      B        B      B      B.  fl   B        ■    ■   ■   ■        ■  ■ 

a      e  a      a  a    a    a  a  a  (  b    a  a    a  b  a  a  a  ■■  ■  ■_ 

1BGGHGGBGGHGG  lBCGQDQGGBGGGnHCG  ^□□□□□□□□JBJCaJLDBL J  1GBGI — B  B  BDDGQDGGB 

1       4    0  1         5      8  1  6        10  1  u  10 

Fig.  425.  Fig.  426.  Fig.  427.  Fig.  428. 

The  next  step  for  figuring  in  point  twills  is  to  arrange  the  pointed  effect  in  the  direction  of 
the  filling.  Giving  Figs.  422,  423  and  424  each  one-quarter  of  a  turn,  or  in  other  words  turning 
them  so  as  to  bring  the  filling  into  the  position  of  the  warp  and  the  warp  into  the  position  of  the 
filling,  will  produce  weaves  for  this  system.  A  straight  draw  for  an  equal  number  of  harness, 
which  is  necessary  for  the  foundation  twill,  is  required  for  this  pointed  twill  (filling  ways).  Thus, 
weave  Fig.  422  will  require  a  4-harness  straight  draw  with  6  picks;  weave  Fig.  423  a  21-harness 
"straight  draw"  with  22  bars  in  chain;  weave  Fig.  424  a  15-harness  "straight  draw  "  with  31 
bars  in  chain. 


82 


The  next  course  for  figuring  in  pointed  twills  is  to  arrange  the  pointed  effect,  warp  and  filling 
"ways ;  forming  in  this  manner  squares  standing  on  one  of  their  corners.  These  designs  offer  very 
many  fanciful  arrangements  and  are  extensively  used  in  the  manufacture  of  fancy  cotton  fabrics. 

Fig.  425  is  derived  from  the  3-harness  ^  regular  twill  by  means  of  draft :  1,  2,  3,1,  3,  2. 

Repeat :  6  warp-threads  and  6  picks. 

Fig.  426  represents  enlargement  of  Fig.  425  to  8  warp-threads  and  8  picks  repeat. 

Fig.  427  shows  the  same  weave  enlarged  to  10  warp-threads  and  10  picks. 


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Fig.  429. 


Fig.  430 


Fig.  431. 


Fig.  428  illustrates  a  pointed  twill  derived  from  the  ^ — ~  twill  by  means  of  point  draft, 
I,  2,  3,  4,  5>  6,  5,  4,  3,  2. 

Figs.  429  to  435  represent  a  few  novel  and  interesting  designs  of  "pointed  twills,"  which  by 
means  of  the  different  styles  of  type  used  readily  indicate  their  method  of  construction. 

Fig.  429.  Repeat:  8  warp-threads,  8  picks.  Point  draw  for  5 -harness  as  follows  :  1,  2,  3,  4, 
5,  4,  3,  2. 

Fig.  430.  Repeat:  16  warp-threads,  16  picks.  Point  draw  for  9-harness  as  follows  :  1,  2,  3, 
4.  5-  6,  7,  8,  9,  8,  7,  6,  5,4,  3,  2. 

Fig.  431.  Repeat:  24  warp-threads,  24  picks.  Point  draw  for  1 3-harness  as  follows:  I,  2, 
3,  4,  5,  6,  7,  8,  g}  10,  II,  12,  13,  12,  11,  10,  9,  8,  7,  6,  5,  4,  3,  2. 


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Fig.  433. 


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1  isU  3ri 

Fig.  434- 


Fig.  432.  Repeat:  14  warp-threads,  14  picks.  Point  draw  for  8-harness :  I,  2,  3,4,  5,  6, 
7,  8,  7,  6,  5,  4,  3,  2. 

Fig-  433-  Repeat:  24  warp-threads,  24  picks.  Point  draw  for  13  harness:  1,  2,  3,  4,  5,  6, 
7,  8,  9,  10,  11,  12,  13,  12,  11,  10,  9,  8,  7,  6,  5,  4,  3,  2.  This  design  has  only  the  point  arrange- 
ment, warp  ways. 


83 


Fig.  434.  Repeat :  38  warp-threads  and  38  picks.  Point  draw  calls  for  20-harness.  Draw 
harness  1  up  to  and  including  20  from  front  to  rear,  then  follow  by  drawing  harness  19  to  2  from 
rear  to  front. 


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r    bbbbb  aa  aa  bbbbb  bbbbb  aa  aa  bbbbb 

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n  bbbbb  aaa  aaa  bbbbb  n  bbbbb  aaa      a  a  '    aaa  bbbbb  > 

r bbbbb  a      aaa  ■  aaa      a  bbbbb  bbbbb  a      aaa  ■  aaa      a  bbbbb 

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mmm  iaaa  i  ia  bbbbb  a  aaa  a  bbb  ■  aaa  a  bbbbb  a  aaa  ■  ■ 
■■■  a  i  aaa  m  bbb  b  aaa  .  a  bbbbb  a  aaa  a  bbb  b  aaa  a  ■■ 
■a  aa  i  i  aa  bbb  b  bbb  'aa    .  aa  bbb  aa      a  a  bbb;  a  bbb  .aa    .,  aa  ■ 

■  aaa      a  bbbbb  bbbbb  a      aaa  ■  aaa      a  bbbbb  bbbbb  a 

aaa  bbbbb      bbbbb  aaa  aaa  bbbbb      bbbbb  aaa  a 

aa      aa  bbbbb  ammma  aa      aaa      aa  bbbbb  bbbbb  aa  a 

aa  a  ■  ■■■  a  .  :  a  bib  m  a  aaa  a  b  bbb  a  a  bbb  b  a  a 
[  aaa  mma  a  a  a  ■  ■■■  aaa  aaa  bbb  b  a  a  b  bbb  aaa  i 
^□□^□■■■■■□□□□□HGannaB 


Fig.  435. 
■,  Sinkers ;  h,  ■  Raisers. 


Fig.  435.  Repeat:  30  warp-threads,  30  picks.  Point  draw  requires  16-harness.  Draw- 
harness  1  up  to  and  including  16  from  front  to  rear,  then  follow  by  drawing  harness  15  to  and 
including  2  from  rear  to  front. 


Derivative  Weaves  from  Satins, 


DOUBLE  SATINS. 


These  weaves  are  designed  for  woolen  goods  in  which  we  desire  to  increase  the  strength  and 
yet  retain  the  satin  face  and  finish.  They  are  derived  from  the  regular  satins  by  adding  one 
more  intersection  of  each  warp  and  filling  thread  in  one  repeat,  either  to  the  right  or  left,  above 
or  below,  or  in  a  short  regular  distance  from  the  original  point. 


□GBBGGGBBG 

_     ■  □  ■■ 

I  .  ■  ."J]  ■■  .  J 
■GGGBBGnGB 

■  :  ■■ 

1BBGGGBBGOG 


Fig.  436. 
and  a  for  Raisers. 


□□□□□1 
1..  ■■  j 

Bl 

n  bb 


JLJ: 


■■uuuuuuiiDnQDDa 
eaananHBDnnaanBBa 

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□□GGBBaGGGGGBB  ]  1 
[  1  !B  j  :  )  1      BB  JG  '  ,  2 

a         .  bb  . 

liiJJuJj  BB 


Fig.  437- 
■  and  ■  for  Raisers. 


□□■GGBGGGGBG 

B  B      B  B 

b    b  mm 
m    m  mm 

LB  I'J  j  B  B  .  B  ; 
□  ]  IB  ]  iBUi  IGC»  iGB'J 
B      B  B  B 

B 

»o  j  j  j  j  b  j  m  .1 
:  b    a  a 

□■□□■□□□□■□□■□□a 
□sggg  jbggb  j  ]  j  jbg 

□TUB  "  i  MG  ;  B  B  ] 
B  B  B 

1BGGGGBGGBGGGGBGG 


Fig.  438. 
and  ■  for  Raisers. 


Fig.  436  illustrates  the  5-harness  (filling  face)  double  satin.  The  common  5-harness  satin 
we  find  clearly  indicated  by  ■.  One  point  added  (■)  to  the  right  has  given  the  double 
satin.  An  examination  of  the  same  will  show  us  a  proportionally  large  float  of  the  filling,  thus 
leaving  all  the  advantages  of  the  satin  for  the  face  of  the  fabric.    The  warp  we  find  changed  in 


the  new  design  from 


to 


or  twice  as  many  intersections  in  the  short  repeat  of  5 


threads,  giving  the  fabric  for  which  this  weave  is  to  be  used  proportionally  more  strength. 

Fig.  437,  representing  the  8-harness  (filling  for  face)  double  satin,  is  designed  upon  the  same 
principle  as  that  of  Fig.  436 ;  having  a  larger  repeat  it  will  better  demonstrate  the  purpose  than 
the  former. 

Fig.  438  illustrates  the  double  satin  (filling  for  face)  produced  in  connection  with  the  8-harness 
satin,  filling  face.  This  time  the  adding  point  is  found  above  the  one  for  the  regular  satin,  so  the 
filling  receives  one  more  point  of  interlacing  in  each  repeat ;  hence  more  strength  in  the  fabric, 
filling  ways. 


□GGBGBGGGGGBGBGG 
■    ■  B  B 

□□□□□■□■□□□□□■□■ 

b  a    .      b  a 

□■□□□□□■□■□□□□□■ 
□GGGBGBDQGGGBGBG 

a  a  a  a 

a         b  a  a 

>•      a  a  a 

a  :  ,         a  a 
t   .      a  a  a 

□nBGaOGGGGBGBOOG 
□■□GGGOBGBOGGOGB 
□GQGBGBOGGDGBGBQ 

a  a  a 

1  ,      ,..!  a  a  g_jBG 


Fig.  439. 
and  □  for  Raisers. 


II  II  llll  II  II 
BB  llll  II  Bill 
■III  II  Bill  BB 
B  BB  BBBB  BB  BBS 
I  llll  II ' BBBB  B 
BBBGBB  ■■■■  BB  B 
BB  BBBB  BB  BBBB 
□BBBB'  BB    BBBB  BB 

mm  mm  bbbb  bb  bb 

■B    BBBB    BB  BBBB 
■BBB    BB    BIBB  BB 
B    BB    BBBB    BB  BBB 
B    BBBB  -.BB.  BBBB  B 
BBB1  IBB  BBBBGBBGB 


Fig.  440. 

^  and  s  for  Sinkers ;  ■  for  Raisers. 


Fig.  439  shows  another  and  a  different  arrangement  of  the  8-harness  double  satin  (filling 
face),  having  its  added  point  in  an  oblique  position  to  the  original  intersection  of  the  regular  satin ; 
consequently  increasing  the  point  of  interlacing  equally  for  warp  and  filling. 

Fig.  440  shows  the  regular  8-harness  satin  warp  for  face,  arranged  for  double  satin,  and  in 
its  construction  will  correspond  to  Fig.  438.  Both  of  the  last  mentioned  designs  also  demon- 
strate the  arrangement  of  the  8-leaf  satin  warp  for  face,  after  the  principle  observed  either  in 
Fig-  437  or  439. 

(84; 


85 


Granite- Weaves. 

Under  this  system  of  weaves  we  classify  small  broken-up  effects,  which  are  derived  from  the 
foundation  weaves  in  various  ways. 

Amongst  the  effects  most  frequently  used,  we  find  those  that  are  derived  from  the  satin- 
weaves.    In  this  manner  Figs.  441  to  469  are  designed. 


■  ■ 

■■□□□SD 

Fig.  441. 


'■■ 

■■ 

i   ■■  1 
■■  j 
■  ■ 
■■ 

Fig.  442. 


1   ;■>  i  ■■ 

■  ■       H   i  J 

1    :   .■■  ■ 

1  7 

Fig.  443. 


LB      U  ■ 

1  1  .  m  mj 

Fig.  444. 


Figs.  441  to  443  are  granite-weaves  derived  from  the  7-harness  satin.  The  latter  is  shown 
in  each  design  by  ■. 

Designs  Figs.  444  to  447  are  derived  from  the  8-harness  satin.  The  first  two  weaves  are 
obtained  by  adding  three  additional  points  of  interlacing  to  each  original  satin  spot  (a). 


i- — ■■  mn 
mm  m 


mm  m 
mm  m 

'bbgggbbg 

Fig.  445. 


8GGGBBRBB 

■  ■  IB 

■  ■      VJI  -1 
.    IB    «■ J 

■  ■■     .:  ■ 

■  :  '  bb  a 
■■  ■■  1 

Fig.  446. 


■  ■  ■'  ■ 

□■■■□■□1 


i  ■  ■  ■  ■ 


Fig.  447 


The  last  two  weaves  are  obtained  by  adding  four  additional  points  of  interlacing  to  the 
original  one.    The  original  8-harness  satin  is  shown  in  each  design  by  b. 

Weaves  Figs.  448,  449  and  450  are  designs  of  granites  having  for  their  foundation  the  12 

harness  satin.  The  latter  is  again  indicated  by  a  different  type  (a)  from  that  of  its  addition  foi 
producing  the  granite-weave  required. 

i2nnnHBncannBB                                    am      ■  n  ^□bbggbbbhbdb 

■b    :  bb                                   nnmm  bb    bbb  ■■■■■■  ] 

BBGaGBBGGBGG                                                BB  .   BBB        B  ■■■■■■ 

BBGGBGaBBGaG                                                 II     ]  B   BB  .   B  II  i  B  I  .BB 

□;  JBBGCGBBGGB                                                B             BBB       I  ...  B   B   BB      BB  I 

□□BBDnaaaBBQ                                  qbbbgqhbgbbg  bb    bb    b  b 

□BGGBBGGGBBG                                                     fl   BB      BBB  B      I  I   BB  B 

B                        B                                                BGGBBBGG9BGB  B   BB      BB  1  B 

I       i                  I                                                   B        I            mm  I  BB  i    ■   B  BB 

gbbgggbbggbg                               (  ii  '  bbb     b  i  i  ii    11  1 

gbbggbggbbgg                               bbb     ■  ■■   .  b    bb  bbb 

ibqqbbgggbbgg                              1bbqbbggbbbog  1hgbgbgbbggbb 

Fig.  448.                                   Fig.  449.  Fig.  450. 


Weaves  Figs.  451  and  452  are  derived  from  the  15 -harness  satin,  which  is  similar  to  the 
preceding  ones  indicated  by  ■. 

Weaves  Figs.  453,  454  and  455  are  granites,  constructed  in  their  foundation  out  of  the  com- 
mon 1 8-harness  satin-weave. 


Bl 

d  I 
B 


DBBBGGS 

]QBBOOG 

:  a  a  :i 


I  B 

]flBBG 

•  a  : 


BB        B         B   B  B 

1»bgggbgbcgbbbgg 

Fig.  451. 


15  B  BB  BBB  B  B 
BB   BBB      IBB  ] 


I  I   IB  III 

■  ■■■  :  1 

■  1  ■  .  ■ 

□IGGBGBBGBBB 


1  11  I 
III 
1    B  B 


B  ! 

■  J 
B  B 


Fig.  452. 


18        BBB     II   III  1 

BBB  BBB  IB 


MBBGGG  BBB 
1BBBGGGGBBBGG 
JGGGBBB  BB 


Bl 

]BB 
IB  B 


BBB  .  II  IIB 
BBB  BBB     II  - 

1,  II  .III   III 


Fig  453. 


Fig.  453  is  produced  by  adding  eight  additional  points  of  interlacing  to  the  original  spot. 
Figs.  454  and  455  are  obtained  by  adding  (regular)  seven  additional  points  of  interlacing  to 
the  original  spot  (indicated  by  a). 

Another  method  for  producing  granite-weaves  is  that  of  using  the  common  satin-weaves  for 


86 


the  foundation,  but  so  arranging  the  latter  in  their  construction  as  to  have  every  even-numbered' 
waip- thread  in  the  main  design  (motive)  missed,  or  not  taken  into  consideration  at  all.  Thus  the 
5-harness  satin  will  call  for  10  warp-threads; 'the  7-harness  to  be  arranged,  in  the  manner  above 


8,  BI 
■  ■I 
■  I 

urn 
a 

mm 

■■■1 
■ 


]□■■■■□ 
1      m  ) 

IBGGGGB 

■■ 

]□■■□□■ 
]■■■■□□ 

]□■■□□□ 

]□□□■■■ 
JBBGGBB 

3PBQOGQ 
]□□□■■□ 

IBCGBBG 
IBBOGGG 
■  ■ 

3PGBBGG 


Fig.  454. 


bbi  mmm 

a    mmm  i 

i     .    SBB  ■ 
fc      BBB  ■■■ 

mm  m  mtt 

beb      mm*  \ 
55  mmm 
mmm  a 
m    mmm  &mm 
is  m  mmm 


mm*m 


Fig. 


455. 


described,  for  14-harness,  etc.,  etc.  To  give  a  clearer  understanding  of  the  method  ol  procedure,. 
Figs.  456  to  465  have  been  designed. 

Fig.  456  represents  the  common  5-harness  satin  designed  on  every  uneven-numbered  (1,  3,. 
5,  7,  9)  warp-thread. 


□□■□□□□□n: 


r  CLL^LSCL.. 

^□□□□□□□□c 
Fig.  456. 


■  '  mm  a  a 
■  ■■    m  :  i 

■■'  :  umj  a 

■    Bfl  B 

B      B         B  B 
B    BB  B 
H         B    BB  ] 

bb    a    .  a 

Fig.  457. 


.L  BB  .L  :L  H  B 
B  B  BB  <  !  1 
fl  BBB 
i  B    BB  jLBG 

m    m  mm 
mm      a  a 

B      B  BB 

■  BBS 

1HBGBBCCLBG 


Fig.  458. 


r  ~ns  a  1 
a  .  Bfl 
■■'  {  a  sl  J 

Bfl  ■ 

■  SB 

LLBBL  9  !□ 
■  BB 

'■■OCIIGODD 

Fig.  459. 


Figs.  457,  458  and  459  illustrate  granite-weaves  obtained  from  the  latter  foundation  weave 
by  means  of  adding  four  additional  points  of  interlacing  (selected  differently  in  each  design)  to 
the  original  spot  of  the  5-harness  satin. 

Granite-weaves  Figs.  460,  461  and  462  are  obtained,  by  means  similar  to  the  preceding; 
cases,  from  the  7-harness  satin.    Their  repeat  is:  14  harness  and  7  picks. 


"    b    '  ;  ■    BB  ■  TDDBflnHnflnflnnflBi  ^w-umcmn*crmcn 

mm  m    a        ■  ■    ab    be      ■  urn      m  mm  i 

■       ■■■■;]  mm      m  m    ■■  ■■      ■    ■  ■ 

BE    B      B            B  I  L:  Bfl      ■■        .fl'  ■  ■      '  ■    ■■□Hi  ■  J 

B      Bfl   ■      fl.j  ■    ■      ■■      Bfl  ■         B      B      '  B  fl 

'Bfl        '  ■      Bfl  ■■      BB      i  ■-«□□  '  B    B3         B    .  ■ 

^■□■□□■■□CBBDD  iHCBDDBDDDDDBBja 

Fig.  460.  Fig.  461.  Fig.  462. 


Designs  Figs.  463,  464  and  465  are  designed  out  of  the  8-harness  satin,  and  their  repeat  is 
16  warp-threads  and  8  picks.  In  designs  Figs.  457  to  465  the  original  weave  for  the  foundation, 
(or  the  5-,  7-  or  8-harness  satin)  is  shown  by  a. 

In  the  same  manner  that  we  construct  granite-weaves  out  of  the  5-,  7-  and  8-harness 
satin,  we  can  also  construct  granite-weaves  out  of  satin-weaves  having  a  higher  number  of 
harness  for  their  repeat. 


^BB^B"  'BB"B""H— flr_B  ^CflCBBBCBdnBCflnnB  8CCBCBBCCr::r 

■  ■  ■       ■            Bfl  ■          ■     ■  ■  flflfl  □□□□■BDBCOCCBGBB 

'  ■  ■■■  ■  ■■  b  ■    a  ■  ■■■  a  IB',  a  aa    a 

LB  ■■  fl  M     fl  flflfl  Lflflfl  ■          ■    jflGB  BDBBGCDGBBDBDCLG 

m        m  mmm  m  mm  mmm  mmm  m  dgbbqbogqobcbbgg 

lbbb  a  aa  a  :     a  mm  mmm  bbi  a  bb         a  a 

aa  a       a  bbb  a  aa  a       a    a  a  a  bbggcqbbgbqqqqbd 

JS  i  B_BBB_BLBBLBG  '■□■CLILIl  BBBQBQD  18BLBGGGGBGBBCOQG 

l                                       16  1                                       10  1  16 

Fig.  463.  Fig.  464.  Fig.  465. 


By  using  in  this  manner  the  9-harness  satin  we  will  get  1 8-harness  for  the  granite-weave 
and  if  we  use  the  10-harness  satin-weave  we  will  get  20-harness  .'or  repeat  of  its  corresponding 
granite- weave,  thus  always  requiring  twice  as  many  harnesses  in  repeat  for  the  granite-weave  as 
for  the  foundation  satin-weave. 


87 


The  next  step  in  designing  granite-weaves  is  the  use  of  any  satin-weave  for  foundation  on  each 
third  successive  warp-thread,  which  will  equal:  "Take  one  warp-thread,  miss  two,"  in  the  founda- 
tion satin-weave  for  the  new  design. 

To  give  a  more  perfect  illustration  of  this  method  of  procedure  Figs.  466  and  467  have  been 
constructed. 

Fig.  466  illustrates  the  5-harness  satin-weave  to  be  applied  for  the  foundation  of  a  granite  under 
the  previously  explained  principle  of  "take  one,  miss  two,"  thus  calling  for  warp-threads  1,  4,  7, 
10,  13  in  constructing  the  satin  for  foundation. 


cmrnu-    bbb^bb—gbbb-^bbb  ■■  -n 
■■■  ■■ 


■  ■•    BIS      .  ■■ 

■      mmm  mm\ 


so  ■ 


.  'ILII     .    ■■■         ■■■  I 

lo  1  15 

Fig.  466.  Fig.  467. 


Weave  Fig.  467  represents  a  granite-weave  as  derived  from  the  foundation,  Fig.  466.  The 
original  satin  spots  are  shown  in  both  designs  by  the  same  character  of  type,  thus  giving  a  clearer 
and  more  perfect  illustration  of  the  method  of  procedure.  Any  granite-weave,  constructed  in 
accordance  with  the  present  example  out  of  a  satin-weave,  will  always  require  three  times  the 
number  of  harness  for  its  repeat  that  the  satin  calls  for.  Thus,  the  5~harness  satin  requires 
1 5-harness  in  granite-weave;  the  7-harness  satin  requires  21 -harness  in  granite-weave;  the 
8-harness  satin  requires  24-harness  in  granite-weave,  etc.,  etc. 

This  will  readily  explain  that  when  using  a  high  number  of  repeat  in  satin  for  foundation,  a 
corresponding  increase  in  the  granite-weave  will  occur.  For  example,  take  the  12-harness  satin 
which  equals  36-harness  in  granite,  a  repeat  too  large  for  the  number  of  harness  operated  in  the 
loom.  To  prevent  difficulties  arising  in  this  manner,  we  can  readily  substitute  the  missings  of 
certain  warp-threads  for  the  filling,  using  warp-ways  each  thread  in  rotation  as  in  the  case  of  the 
example  in  the  filling. 

The  peculiar  characteristics  of  the  face  of  a  fabric  interlaced  on  a  granite- weave,  "small 
broken-up  effects,"  will  readily  admit  this  change.  The  present  rule,  "take  one,  skip  two,"  in 
producing  the  foundation  satin  can  also  be  extended  to  "  take  one,  skip  three,"  or  "  take  one, 
skip  four." 


as  ■       :  '  mm  m  mm  i 
■■  ■  ■■      ■■  ■  ■■ 
(  ■■      ■■  ■  ■■      ■■  ■ 

■  ■  ■■  ■■  ■  ■■  ■ 
[■■■■■  ■■■■■) 
■■      ■■  ■  ■■      ■■  ■  ] 

m  mm  mm  u  mm  mm 
■■  ■  ■■      ■■  ■  ■■  i 

■  ■■  ■  ■■  ■■  ■  ■ 
1  ■■      bs  b  bb      ■■  j 


ltGcccGnnnn  101 

BB  ! 

□□□□□□□□□□  cma      mm  m  mm 

□□■□CCDDCD  ■  ■■ 


□□□□□□□□□□  DC 
□□□□DDDGPG 


□□□□□□□□□□  l/b  ■■      ■■  a  ■■  iii 

□□□□■□□□□a  ■■  ■■ 

□□□□□□□□□□  ■      ■■  ■  bb      bb  b  b 

lBUDDCGCCan  ILJ^BH-    .  BB   B   BB  BB 

J.                          10  10  M 

Fig.  468.  Fig.  469. 


Another  method  of  designing  granite-weaves  having  a  satin-weave  for  foundation,  is  that  of 
using  the  latter  in  the  former,  as  follows:  "Take  one  thread,  miss  one"  (or  two,  or  three,  etc.)  in 
the  direction  of  the  warp  and  the  filling,  thus  increasing  correspondingly  the  repeat  of  the  warp- 
threads  and  picks.    To  illustrate  the  present  method  Figs.  468  and  469  have  been  designed. 

Weave  Fig.  468  illustrates  the  5-harness  satin  arranged  in  its  repeat  upon  every  alternate 
warp-thread  and  pick.    Repeat:  10  threads  each  system. 

Weave  Fig.  469  illustrates  the  arrangement  of  above-mentioned  satin-weave  changed  to  a 
granite-weave. 


88 


The  character  of  type  used  in  weave  Fig.  469,  for  indicating  one  repeat  of  the  satin-weave,  is 
shown  to  correspond  with  that  used  in  Fig.  468. 

It  will  be  seen  readily  that  it  is  possible  to  construct  an  endless  variety  of  granite-weaves  in 
this  manner,  therefore  we  only  give  these  few  examples  to  indicate  the  elementary  principles  of 
their  construction. 

Other  Methods  of  Constructing  Granite-Weaves. 

Granite- weaves  may  be  produced  also  by  various  other  methods.  Among  those  most 
advantageously  used  are  those  produced  by  using  a  suitable  effect  arranged  in  the  shape  of  a 
broken  twill. 

For  example,  we  have  designed  weave  Fig.  470,  which  will  readily  explain  the  method  of 
procedure,  as  well  as  indicate  how  to  proceed  in  constructing  similar  effects.  A  further  method 
of  designing  granite-weaves  is  the  using  of  a  certain  number  of  warp-threads  and  picks  on  a  warp 
effect  and  exchanging  alternately  for  the  same  size  and  figure,  filling  effect. 

□□□^□■■□□□HEOBBn 

■  be  bb  be  ■ 
■■    am  bdb    mm  m 


1      ■■  eb      ■■  be  A  T> 

■■■ ^■■Ba«55  ■■nB 


i  bbb  e      ■■■  e  i 

be  bb      be  mm  i  n    be    bb  ee 

B   EE         BB    BE        B  ■  ..:   BEE    B  BEE 

BB      BB    BBB      BK   B  •».  BEE         □    BEE  B 

BB    BBB      BB . BBS  .  1  BB  BB 

BB    EE         BB  BE 

I  SB         EE    BB  BB 

BBB    BB      BBB   BE     J  14  8 

>BB_.  BBB  ■■  .  .BBB...]  Q  J) 

Fig.  470.  Fig.  471. 

For  example,  in  constructing  by  this  method  a  granite-weave  for  8  warp-threads  and  8  picks, 
divide  the  8  threads  each  system  contains,  thereby  getting  4  squares  of  4  by  4  threads  dimension. 
Next  put  the  effect  desired  into  one  of  these  squares.  Into  each  square  connecting  with  one 
side  insert  the  same  effect,  exchanging  from  the  breaking-offline,  raisers  for  sinkers  and  vice  versa. 

The  fourth  square,  left  unoccupied  thus  far,  will  readily  appear  as  the  connecting  link  for 
producing  the  entire  weave. 

Figs.  471,  472  and  473  are  constructed  in  this  manner.  Fig.  471,  repeat:  8  warp-threads 
and  8  picks. 

Effect  A  for  the  first  square  of  4  x  4  threads,  is  shown  by  ■. 

B  represents  the  square  connecting  with  A  on  one  side,  situated  on  the  right  hand  side.  It 
contains  the  same  effect  shown  in  A  reversed,  raisers  exchanged  for  sinkers. 

C  represents  the  other  square  connecting  with  A.  It  also  contains  the  effect  shown  in  square 
A  reversed,  raisers  exchanged  for  sinkers. 

BBBB  '        BBBBCDX]  8 

BBBB  :  ,                                                                                 B    BBB         B    BBB  BB  B 

BBB   B  ■  .  BBB   E.J  E        BBB   E        BBB  ]  B   BB  .  B 

BB      BE      BB      BE  E    EE      B   B    EE  •   B  i  ™.  1 

BE      BB      EE      BB  I  B     .BB   E   B      BE   B  4unBUBDBB 

B   BBB         E    BBB  I  BBB      .  B  .  BBB  I  E      ■■.  M 

□□□□BBBB  J  iJ.ii  BBBB  BBB   E         BBB    E  B  BB 

^□□□□■■■■□□□UBBBB  1      fl   E   EE      B   B   BB  IJBUBLJHLja 

18                                                                               18  18 

Fig.  472.  Fig.  473.  Fig.  474. 

Weave  in  squares  B  and  £7  is  shown  by  0  so  as  to  distinguish  it  better  from  A  and  D;  also 
to  indicate  more  plainly  the  method  of  procedure  to  be  observed  in  the  construction  of  different 
weaves. 

Square  D  forms  the  corresponding  connection  in  the  design.  ■  is  used  in  this  square  for 
warp  up,  similar  to  square  A. 

Weaves  Figs.  472  and  473  are  constructed  with  different  effects,  but  in  their  method  of 
construction  correspond  with  weave  Fig.  471.  Repeat  in  Figs.  472,  473  and  474:  8  harness 
and  8  picks. 


89 


ii      mam  mm  m 
l ■■  ■  ■  ■ 
■    ■■  mmm      a  ■■■  ■ 
■mii      a  bbm  m 


Weave  Fig.  474  contains  the  same  method  of  construction  as  the  foregoing  three  examples, 
the  only  difference  being  that  the  shape  of  the  square  is  changed  this  time  to  a  rectangle 
produced  by  2  picks  and  4  warp-threads.    Repeat  of  weave  :  8  warp-threads  and  4  picks. 

Weave  Fig.  475  illustrates  a  granite-weave  similar  to  those  already 
explained.  Repeat:  20  warp-threads  and  20  picks.  Four  changes  in  each 
system;  thus  4x4  =  16  squares  (each  separated  by  a  break)  in  complete 
weave. 

As  mentioned  at  the  beginning,  by  granite-weaves  we  mean  those 
weaves  which  form,  when  applied  for  interlacing  a  fabric  (worsted  or  woolen 
goods),  small  broken-up  effects  upon  its  face.  As  this  indicates  to  a  certain 
extent  a  regularly  distributed  arrangement  of  interlacing,  warp  and  filling, 
it  will  be  seen  readily  that  we  can  also  construct  and  classify  under  this 
system  of  granite-weaves,  designs  having  no  real  foundation  of  structure,  but  in  which  the  method 
of  interlacing  will  produce  the  small  broken-up  effect  upon  the  face  of  the  fabric. 

Weaves  Figs.  476  to  486  illustrate  a  few  specimen  designs  constructed  in  this  manner. 


IB    ■  ■ 
■  ■ 
■  ■■ 


■  ■    ■    ■  ■ 

■■    ■■■  ■    ■■■  ■ 

fl  ■        ■  ! 

■■■  ■■  ■  ■  ■■■ : 

■  ■  ■  ■■    ■  'i 

■  ■■■  ■  ■■■  mm 

R3  H  2) 


Fig.  475. 


Repeat 


B  n — J 

urn  m 
,  HEI  mu 

]■■□■■□ 

B  ,  BB 
I  B 

]■■□■■□ 

1  b 

b 

I  BBB 


BB 

BB  B 
B 

Fig.  476. 


J  12  warp-threads, 
\  12  picks. 


12"  ~B~BH 
BBB 
■□□■■□I 
1  BB  fl 


L    B    BB  :   B    BB  * 
BBB  BBB 


Fig.  477. 


■o  f  12  warp-threads, 

\  12  picks. 


a  iibib 

B  BB  BBB  J 
BB  BBB  B  i 
BBB  BB  B  :  .  1 
BB  B  BBB  I 
B  BBBBB  : 

BBBBB  B 
I  BBB  B  BB 
B  BB  BBB 
B         BBB  BB 

BBB      BB  B 


Fig.  478. 


Repeat:    /  '2  warp-threads, 
I  12  picks. 


1-BB  "B^~rBB7B 
BB         B      BIB  J 
[     8      _ BB  BBB 
B      BBB  Bl 
B         BB  BBB 
B      III  II 
L     IB    Bflfl   '  B  ] 
[    .BBB    Bfl      _  fl 
■■   BBB  n 
Ml    II  B 

[  bbb    a  mm 

■  ■■     ■  "fl 

Fig.  479. 


HflB  ]■□■□■  ~BH 
S   fl    BB    B  fl 

mo  ■  ■  b  ■ 

■  Jfljflfl    B    B  ! 

□■□■□■□■□■a 

□  B  '■■  fl    ■  ■ 
B    II    B    ■  Bfl 
B  Jflfl  .fl  fl  B 
I  fl   ■    fl    Bfl  fl 

□Bfl . ■  ■  mm 


Fig.  480. 


■a  .<:.]■■□■■ 
mm  mm  mm 
■  ■ 

flflflfl  Bfl 
■fl  Bflflfl 

■  fl  /flflflfl 

■■■■ j    mm  j 
■■■■  ■■ 
1 ,  "a 

Fig.  481. 


Repeat:   \  12  warp-threads, 
I  12  picks. 


Repeat : 


f  1 1  warp-threads, 
I  1 1  picks. 


Repeat 


j  10  warp-threads, 
I  10  picks. 


^   Ol  ll™H^Ii1  8CDBJBJDBCM  8"'.B~I~  ■■ 

■  ■        ■■    BB         KB  j  .  B      Bfl  ■ 

■  an  ■■      hje  ■  ■  ■■    a  j 

■  ■■      ■■  ■■      h  ■    ■    ■■  mm    m  ai 

LBB        BB    I  II  ■    ■    ■■.  .  :  I     ■■   ■  ■ 

mm  mm      mm  mm  i  ma  a  m 

mm  BB      bb  bb  ■■□■■□[.:□  ■  m  mm 

18  18  18 

Fig.  482.  Fig.  483.  Fig.  484. 

Repeat:  /  8  wa^hreads,  Repeat :  (  8  warp  threads,  Repeat:  /  8  ^arp-threads, 

F        18  picks.  *        I  8  picks.  I  8  picks. 


B    ■  ■■ 
■      ■■  ■ 

BBB  r  ■ 

■  ■■■  ] 

■  ■■  ■ 
BB    B  B 

1., 

1  8 

Fig.  485. 


-r,  f  8  waro-threads 

RePeat:{8picks. 


■  BBB  : 
Bflfl  B 

■  ■■■ 

■  ■■  ■ 

Bflfl  ■ 

■ 

mj-j 

Fig.  486. 


Repeat :{  8 


8  picks. 


Combination  of  Different  Systems  of  Weaves  for  one  Design. 


As  indicated,  designs  or  weaves  classified  under  this  head  are  produced  by  combining  two> 
three  or  more  weaves  from  those  explained  in  any  of  the  preceding  systems,  or  divisions 
of  it;  also  any  new  weaves  similarly  constructed  by  any  of  the  rules  given  or  examples  illustrated. 
Thus  it  may  readily  be  seen  that  a  great  number  of  such  combined  weaves  can  be  constructed, 
but  practice  will  teach  us  to  be  careful  in  selecting  the  weaves  for  combination,  so  as  to  have  them 
harmonize  in  their  method  of  interlacing  and  to  secure  perfect  work  upon  the  loom,  as  well  as 
the  proper  finish  of  the  fabric  after  it  has  gone  through  the  finishing  process.  This  point  must 
especially  be  taken  into  consideration  in  the  manufacture  of  woolen  fabrics,  as  these  generally 
require  fulling;  therefore  places  more  irregularly  interlaced  in  one  part  of  the  design  than  in  other 
parts  will  have  a  tendency  -to  shrink  irregularly  in  the  fulling  process.  In  the  manufacture  of 
fabrics  requiring  no  finishing  at  all,  or  requiring  but  very  little  (such  as  shearing,  calendering  or 
pressing,  etc.),  this  trouble  will  be  of  less  consequence  than  in  the  case  of  fabrics  requiring  a  finish. 

Therefore  the  rule  for  designing  weaves  for  worsted  and  woolen  fabrics  under  the  present 
system, is  as  follows:  Only  combinations  of  weaves  are  allowed  in  which  the  fabric  shrinks  regu- 
larly at  the  loom  and  during  the  fulling  and  scouring  process. 

We  will  introduce  a  few  designs  containing  the  principles  of  the  various  combinations 
and  thus  explam  the  whole  system. 

For  example,  it  may  be  desire  to  produce  a  stripe  effect  upon  a  ground  interlaced  with 
the  plain  weave,  and  in  addition  the  stripe  be  required  to  stand  out  more  prominently  than  the 
ground.    In  this  manner  design  Fig.  487  is  constructed. 

x       n  Repeat:  12  warp-threads  and  4  picks. 

km       8  warp-threads  (1 — 8)  marked  I  interlace  in  the  regular  plain  weave. 
4  warp-threads  (9 — 12)  marked  II  interlace  in  the  regular  4-harness 


■  ■  ■  ■■■  ■  ■  ■  1 

■   ■    ■    ■  ■  ■ 

■  ■  b  i  in  ■  ■  a 


■  ■  ■  ■  ■  ■■■  ■■■■■■  5   tWlll 

J 

1  8  12   

Fig.  487.  j  2  warp-threads  repeat. 

Suppose,  again,  we  would  use  in  our  present  example  one  kind  of  yarn  (same  size,  quality,, 
color).  A  careful  examination  of  the  subject  by  the  novice  will  convince  him  that  the  8  warp- 
threads  working  with  the  plain  weave  must  intersect  twice  as  often  with  the  filling  as  the  4 

threads  working  with  the  -         twill.    Practice  will  readily  demonstrate  that  the  8  warp-threads 

interlacing  on  plain,  will  become  tighter  (take  up  more)  than  the  4  warp-threads  interlaced  in 
twill.  The  entire  warp  being  a  continuous  repetition  of  the  12  warp-threads  until  taken  up,  will 
thus  have  the  arrangement  of  8  warp-threads  interlaced  with  the  plain  weave  and  4  warp- 
threads  interlaced  with  the  -  r  twill  taken  alternately  and  repeated  over  its  entire  width.  This 

in  turn  will  produce  a  tighter  texture  in  the  plain  woven  part  as  compared  with  the  twill  part. 

A  perfect  fabric  requires  an  even  texture  all  over  its  surface,  which  is  not  guaranteed  in  the 
present  example  because  of  the  vast  difference  in  the  result  of  interlacing  of  the  plain  weave 
and  the  twill  weave  in  the  same  fabric. 

We  will  next  consider  methods  to  be  employed  for  producing  an  even  texture  (or  as  nearly 
even  as  possible).    Either  we  must  use  a  heavier  size  of  yarn  for  those  warp-threads  which  interlace 

on  the  r  4-harness  twill  as  compared  with  the  warp-threads  woven  on  plain ;  or  we  must 

use  a  higher  texture  (more  ends  per  inch)  for  the  twill  part  than  for  the  part  interlacing 
with  the  plain  weave. 

If  we  should  select  the  first  mentioned  point  for  evening  the  texture  in  the  present  example, 
we  increase  the  bulk  of  the  fabric,  which  may  be  objectionable,  whereas  if  we  employ  the  second 
point  this  will  be  to  a  great  extent  avoided.    This  will  better  explain  itself  by  means  of  the 

(90) 


91 


following  rule  as  to  sizes  of  threads  compared  with  their  diameter:  "  the  weights  of  threads  do 
not  change  in  proportion  to  their  diameters,  but  vary  in  the  same  ratio  as  the  squares  of  their 
diameters/'  This  will  readily  demonstrate  the  second  given  point  as  the  proper  one  to  be  used 
in  the  present  example  for  producing  the  required  even,  or  as  nearly  even  as  possible,  texture. 

In  weave  Fig.  488  we  illustrate  the  combination  of  9  warp-threads  interlaced  with  the 
5-harness  satin,  and  10  warp-threads  interlaced  on  a  fancy  twill;  both  weaves  combined  forming 
corresponding  stripes  in  the  fabric.  On  examination  the  amount  of  intersections  in  each  weave 
will  clearly  appear  to  the  student  to  be  even,  thus  no  great  trouble  can  result  in  combining 
these  two  weaves  into  one.  It  also  explains  the  method  of  procedure  in  combining  similar 
weaves  for  the  same  purpose. 


ir 


in 


IV 


11 


BBB  ■■■   :■■       ■   '       ■       ■■    ■    ■    ■  ■■□ 

I  ■■■  BBB  .  .  ■■■  ■■  ■  .  ■  B  B  BB  BB 
BBB       ■■■  ■■    ■■■    BB       ■      '    ■    ■    ■■■  ■ 

BBB      .    ■■■  ■       BH    ■■■    ■■       BBB  BBB 

■  ■  ...    ■  :  ...  Ill         I      IB  .BBB    ■■    ■    ■      BBB  ] 

■  BB         ■■■      ■         ■      ■■    BBB    ■    ■         ■■■  ] 


]■□■□■■[ 


BB    BB  ■ 


■■■         BBB      .   B  BB   III   BB      B  B  B  BBB 

BB  ..     B        BBB  B  .   II  .BBB   BB  B  B  BBB  1 

 bbb  :  :■  .  .aa  ■■■  a  a  aaa  i 

1                                U  T,  31  38 


Fig.  488. 


Fig.  489. 


Weave  Fig.  489  represents  a  perfect  combination  of  five  different  weaves  produced  with  a 

repeat  of  38  warp-threads  and  6  picks.  Warp-threads  1  to  6  are  interlaced  with  the  regular  -  - 

twill.    Direction  of  twill  from  the  left  to  the  right.    Warp-threads  7  to  12  are  interlaced  with  the 

common  6-harness  -  basket-weave.    Warp-threads  13  to  27  have  for  their  weave  the  skip 

twill  derived  from  the  regular  6-harness  3  twill  by  means  of  "  take  three  threads  successively 

and  skip  two."    Warp-threads  28  to  31  are  interlaced  with  the  common  rib-weave  -         warp  for 

face.    Warp-threads  32  to  38  are  interlaced  with  the  filling  by  means  of  the  g-  6-harness  twill. 

Direction  of  twill  from  the  right  to  the  left. 

Weave  Fig.  490  illustrates  another  perfect  combination  of  two  weaves  from  two  different 

divisions  of  weaves.    In  the  same  the  combination  of  the  regular  8-harness  twill  -  j,  used  for 

six  successive  warp-threads,  and  the  16  harness  corkscrew,  used  for  18  successive  warp-threads, 
is  shown. 

^□□■■□□■■□□■■□□■a 

[  II      III      II  GII 

■i:.i  .bbb  ..BB  .. 

B      BBB      BB      BB  D 

_  _  TT  □   BBB      B      BB  BB 

I  II  I  II  (  BBB      BB      BB  BB 

_   a  .  BBB      BB    BB  BB 

s  BB      BB      BB      BB  1 

I   B    BB    B    B   B   BB    B    ■  -      BB      BB      BB  .BB 

i  ■■  a  a  a  bb  a  a  b  i    bb    bb  bb  bib 

IB    B    B    B    BB    B    B    BB  1  BB      BB      BB  BBB 

B   B    B    BB    B   B    BB   B  BB      BB      B  BBB 

B   B   BB    B   B   BB    B   B  !  L    BB      BB  '    BBB  '.  I 

■■■■ : s :  u 

iigi[]Ijii:IjIli:ii.i  i  ■■□□■■□□■■□□■■□c| 


rm 
L  Bl 

r  ■  ..■ 


8  !HHH  ! 
□  HI 
□HHH  ;i 
a  ai 

[  KHH  I 

K  □ 

'r  - 


Fig.  490. 


Fig.  491. 


Fig.  492. 


Weave  Fig.  491  illustrates  the  same  corkscrew  as  used  in  weave  Fig.  490  combined  with  a 
rib-weave,  filling  for  face.  Warp-threads  1  to  5  are  required  by  the  rib-weave  and  warp-threads 
6  to  28  are  called  for  by  the  corkscrew.    Repeat:  28  warp-threads  and  8  picks. 

The  next  step  for  figuring  in  this  system  of  weaves  is  by  combining  two  weaves  in  the  shape 
of  alternate  squares  of  any  size  desired. 

In  the  construction  of  these  weaves  we  must  be  careful  in  the  selection  of  the  places  for 
joining  the  two  original  weaves  in  the  direction  of  the  warp  as  well  as  the  filling,  so  as  to  omit 
any  unnecessarily  long  floating  of  either  system  of  threads. 

Fig.  492  illustrates  the  combination  of 

8  threads  on  4-harness  basket-weave  and 


threads  on  the 


9-harness  twill. 


16  threads  repeat,  warp  and  filling  ways. 


92 


By  carefully  examining  the  combined  weave  we  will  find  the  twill  and  basket  so  selected 
as  to  form  a  clear  break  between. 


^-mm~  mm-m-   mm — as 

■    aa    ■■    m    mm  mm 


■i 

nn 

■i 

■■  i 

■■ 

■■.  □ 

■■ 

■  ■ 

l:  i 


Fig.  493. 


4  X  12. 
Basket. 

4  X  12. 
Twill. 

4X4- 
Basket. 

4X4. 
Twill. 

4  X  i2. 
Twill. 

4X12. 
Basket. 

4X4. 
Twill. 

4X4. 
Basket. 

12  X  12. 

4-harness 
Basket. 

12X12. 
4-harness 
Twill. 

12X4. 
Basket. 

12X4. 
Twill. 

12  X  12. 

4-harness 
Twill. 

12  X  12. 
4-harness 
Basket. 

12X4. 
Twill. 

12X4. 
Basket. 

Fig. 


Fig.  494. 

493  we  illustrate  four  different  combinations  of  two  weaves  in  each 


In  weave 
direction  of  threads. 

The  arrangement  observed  is  clearly  indicated  in  diagram  Fig.  494. 


12DDI 
1  ■ 


I  I 


■□□Mi 
I  ■■ 

mm  j 
mm 

1  ■■ 


■  ■■ 


ss  J 
■■ 
]■■□□■■ 
1  a  ■  b  :  ■  ■ 
■  ■  a  m  m  i 


^■□■□■□□l 
I.  ■   ■  ■■ 

□  ■!  !■  "!:  ■■ 

■  B    ■   ::  ■ 

□■□■□■■□ 

■  ■  mm 

■  ■  ■  ■ 

■  ■  ■■ 

!  mm  mm 
m  mm  m 
1  ■  ■  ■■  : 
■□■□■□□■1 
1  "m 


□□■■□n 


i     ■■    ■■ "  ■■  mm 
m    mm    mm  mmm 

mm    mm    am  .  mmm  i 

mm    mm    are    mm  i 

■■  ■■  ,i  mmm  ;  mm  ; 

■■■  1 

■■  .  ■■■  ■■  ]::■■□ 
■■_■■■  :  ■■  i  ■■  i 
■■■  ma  mm  n 
r  mm  mm  mm  ma 
■a  ■■  mm  mm  i 
^■■□^■□□■■□□■o_.:i 


Fig.  495. 


Fig.  496. 


Fig.  497. 


Another  method  of  figuring  in  the  present  system  of  weaves  is  the  checking  off  of  a  weave 
of  a  given  size  (mostly  square)  with  cnother  weave,  both  weaves  to  harmonize  in  their  methods 
of  interlacing. 


im:  d  mmm  ■■■  1 

c    ■■□□  mam  mi 

[        ■         ■■■  HI 

■■■      mmm  mmm 


L 
C 
I 

ma 
urn 
mmm 

□□r" 

L  ■ 


]□□■■□■ 

mm  mm 

]■■□«■□ 

inMiana 
]■■□□□■ 


m      mmm      mm  naa 

■  ■■■      ■■  ■■  ]    ■■■ 7 

■  ■■■      ■■  ■■  ' 


1      ■■  ■■ 
■  ■■ 

]□□■■■□□□ 
■■■  ■■■ 

■■■□□□■1 — 
■us  a 


■■■  .    ■■■ j 
mmm  . 

mm 

b      ana  ■ 

■■■□□□Mi 

■■■  ■■■ 

■a      ■■■  □ 

UULjBBBCDCMiBana 
□□□■■■□□□MiBDDa 


■an 

□□□■  c 
■□□■■■ 
■■■□□■ 
□□■□□■ 
:□■■■■ 
■□□□■r 
■■□□■■ 
□■■■□c 
□□□■□c 
■□□■■■ 
■■■□□■ 
□□■□□■ 
□□■■■c 
■□□□■.: 
■■□□■■ 
■■■ 
a  :■  . 
■□□1 — 


HK      na      HK      HH  "  "HH      HH  □ 

a  a  a  a  a  a  a  a  a  a  j 
■  aa  aa  . . aa  aa  aa  aa  j 
■a    a  a    a  a    a  a    a  a    a  a    a  a 


aa    aa    aa    aa    aa  a 
aa    aa    aa1    aa    aa  i 
a  a  i  a  a    a  a    a  a    a  a  ] 
aa    aa    aa    aa  aa 
a    a  a    a  a    a  a    a  a  a 
a  a    a  a    a  a    a  a    a  a  i 
a  a    a  a    a  a    .aa    aa  j 
aa    aa    aa    aa  aa 
a    a  a    a  a    a  a    a  a  jo- 
sh ;  a  a    a  a    a  a    a  a  J 
aa    aa    aa    aa    aa  j 
a  a    a  a    a  a    a  a    a  a 
3    aa    aa    aa    aa  a 
a  a    a  a    a  a    a  a    a  a 
a  a    a  a    a  a    a  a    a  a  i 
aa    aa    aa    aa  aa 
3    aa    aa    aa    .aa  a 
a  a    a  a  .  a  a    a  a  : 
_j  .  ■    '  .aa    a  a    a  a  ,  a  a    a  a    a  a 
r  ■    «"a  ■  aa    aa    aa    aa    aa  aa 

■  ■■■  a a  a a  .  a a  .  a a  ,  a a  a a  a 
■■□□■□□■■■□□■□□■■■□□■□□■■■□□■□□a 
□■□□■■■□□■    ■■■  -  ■  ]  mam  ■!□■■■□ 

in  i  ■    '■■■  -  ■    ■■■  r.  m    mmm  m 
m    m    mmm    m    mmm  .  m    mmm    m  mm 

■  ;  ■■■  ■  ■■■  ■  ;  ■ ■■■  j  ■  !  hii  ) 
■■■  i  ■    ■■■    ■    ■■■    ■    ■■■  .  ■  i 

^□■□□■■■□□■■□□MiDDMicaMiaaMiaaMi 


aar 

1  a  ' : 

a  a 
a  a 


a  a    a  a 


Fig.  498. 


Fig.  499. 


Figs.  495,  496,  497,  498  and  499  are  designed  to  illustrate  a  few  of  these  combinations. 

Weave  Fig.  495.  Repeat:  12  warp-threads  and  12  picks.  In  this  weave  8  threads,  warp  and 
filling,  interlaced  on  the  4-harness  basket-weave,  are  checked  off  by  the  f^""}  4-harness  granite- 
weave,  4  threads  for  each  system.  \mmna/ 


Fig.  496  represents  1 1  threads,  warp  and  filling,  interlaced  with  the  ?  rL  4-harness  twill  and 

overchecked  with  a  common  rib-weave.  In  the  place  where  warp  and  filling  rib  meet  the  inter- 
lacing is  done  in  plain  weave.    Repeat:  15  warp-threads  and  15  picks. 

Fig.  497  represents  14  warp-threads  and  14  picks  interlaced  in  twill  and  overchecked  with 

2  threads  of  basket- weave.    Repeat:  16  warp-threads  and  16  picks. 

Fig.  498  represents  21  warp-threads  and  21  picks  interlaced  in  twill  and  overchecked  with 

3  threads  basket-weave.    Repeat:  24  warp-threads  and  24  picks. 

Fig.  499  illustrates  25  warp  threads  with  an  equal  number  of  picks,  interlaced  on  the  °-  r, 

4-harness  twill  and  overchecked  with  7  warp-threads  and  7  picks  of  the  granite-weave.  Repeat: 
32  warp-threads  and  32  picks. 

Figured  Effects  upon  Fabrics  interlaced  with  Derivative-weaves  Produced  by  Arrange- 
ment of  Two  or  More  Colors  in  the  Warp  or  the  Filling, 
or  in  Both  at  the  Same  Time. 

Throughout  previous  lectures  explanatory  of  the  plain  weave,  the  twills,  the  rib-weaves,  the 
basket- weaves,  and  the  broken-twill-weaves,  the  importance  of  the  color  arrangement  in  connection 
with  the  method  of  interlacing  for  producing  the  effect  in  a  fabric,  has  been  frequently  dwelt  upon. 
In  the  manufacture  of  fabrics  known  as  fancy  cassimeres,  ladies'  dress  goods,  etc.,  these  are  of 
special  importance,  for  the  reason  that  these  fabrics  are  subject  to  constant  changes,  both  in 
design  and  effect,  by  the  demands  of  fashion.  A  great  variety  of  new  styles  in  such  fabrics  might 
be  designed  alone  by  the  different  ways  of  interlacing  warp  and  filling,  yet  the  different  color 
arrangements  in  the  warp  and  filling  will  always  be  of  great  assistance  to  the  designer. 

Therefore,  before  proceeding  with  the  course  of  lectures  for  constructing  weaves  for  single- 
cloth  fabrics  of  a  special  construction,  and  double  cloth,  etc.,  we  will  take  up  the  subject  of  color 
effects  in  combination  with  plain  weaves,  fancy  twill-weaves,  granite-weaves,  etc.  Explanations 
accompanied  by  their  respective  illustrations  of  weaves,  with  resulting  effects,  will  readily 
1st  set.     2nd  set.         enable  the  student  to  comprehend  their  principle  of  construction. 
1         al         w  Design  Fig.  500  shows  at  A  16  warp-threads  arranged  in  two  sets. 

□□□■"■■■■■■Bsaffl^an§A    Each  set  is  interlaced  with  the  filling  (same  for  both  sets)  on  the  plain 
a  a.  a  a  a  a  a  a£    weave,  and  the  connection  between  each  set  arranged  so  as  to  have  the 
aa   a  a  a  aaaaaaaaas      last  warp-thread  of  the  one  set  working  the  same  as  the  first  warp-thread 
%  %  %  aaaaaaaaa^     of  the  second  set.    B  shows  the  indications  for  the  dressing,  arranged  for 
8"       one  thread  light  to  alternate  with  one  end  dark,  and  equal  at  C,  indicated 


aa    a  a  a  aaaaaaaaa 
a  a  a  a  ' 


for  the  filling. 

(For  hair-line  and  tricot  effects  combined,  thread  and  thread,  con- 
structed on  the  regular  plain  weave,  and  repeated  without  interruption  or  change  over  the  entire 
width  of  the  fabric,  see  Fig.  20,  page  15.  For  producing  the  change  from  tricot  to  hair-line  and 
vice  versa,  the  arrangement  of  two  threads  of  one  color  is  used  in  one  place  in  the  design  which 
corresponds  with  the  place  in  the  fabric  where  the  change  from  tricot  to  hair-line  is  required.) 

In  the  present  example,  Fig.  500,  the  dressing  is  not  disturbed,  but  the  weave  is  arranged  so 
as  to  have  (as  already  mentioned)  the  first  and  last  warp-thread  of  each  set  work  equal. 

Warp-threads  1  to    8  =  1st  set,  shown  by  ■  type. 
Warp-threads  9  to  16  =  2nd  set,  shown  by  a  type. 
Warp-threads  8  and  9  are  connecting  threads,  interlacing  alike  into  the  filling. 
Warp-threads  16  and  1  are  the  second  set  of  connecting  threads,  interlacing  into  the  filling, 
c*nd  arranged  to  raise  and  lower  on  the  pick  opposite  to  the  first  set. 

It  will  readily  be  seen  that  the  changing  or  breaking  off  of  the  plain  weave,  by  arranging  two 
successive  warp-threads  to  interlace  in  the  same  manner,  will  reverse  the  tricot  effect  to  a  hair- 


94 


line  effect,  and  vice  versa  (on  a  regular  arrangement  in  the  warp  of  one  end  light  to  alternate  with 
one  end  dark  over  the  entire  width  of  the  fabric).     See  D,  Fig.  500  for  effect. 

This  arrangement  of  working  two  successive  warp-threads  can  also  be  extended  to  the 
filling,  producing  some  of  the  most  novel  effects  for  ladies'  dress  goods  and  similar  light-weight 
fabrics. 

Such  effects  and  their  construction  are  illustrated  in  the  following  designs,  Figs.  501  to  509. 


-------  \         —  ■;"!  VI-  —  


■  ■  ■  B~a~ ■ 
■■■  ■■■ 

b\\\W 

.  ■■■  ■■■ 


■■■  ■■■ 

Fig.  501. 
Motive. 


EBB 

□1 


mmm  hmmmmmi 
i  im:o-imm^:j;t 
□□□□m-mjd. 

!  I  I.  IJ.T 
[  rl  !■□□[ 

m:  mi  j  :  ].j_nm'- 
n  u  r:  :.  :~ym* 

I  I  3  J  4.3.:"!   ,  !  !• 

m  4  Cj.-T.HrJ. 

□_jz 

□□□  ]□□□□□□[ 

lj  jcct 

□□□□□□□□□□[ 
n-  r  c  :  .  :  :  «m 


it  i  :..!■.  s         i  i!  i. 


CIMflMB 
□□□□□□ 
)□□□□□□ 
]□□□□□□ 
)□□□□□□ 

□ami 


:__^±-iarJ;ra 


Fig.  502. 
Ground-plan. 


Fig.  501  is  designed  to  illustrate  a  motive.  Suppose  the  ■  indications  in  the  same  to  repre- 
sent the  hair-line  effects  and  the  □  the  tricot  effects.  Again,  suppose  every  square  in  the  motive 
to  equal  four  threads  in  the  warp  and  filling  in  the  weave  and  effect. 

An  examination  of  Fig.  501  shows  six  squares  each  way  for  repeat,  therefore  6  X  4  =  24 
warp-threads  and  picks  for  the  repeat  of  the  required  weave  and  effect. 

Fig.  502  illustrates  the  ground-plan  and  represents  a  four-fold  enlargement  of  50 1. 

In  Fig.  502  those  parts  of  the  design  requiring  hair-line  effects  (according  to  the  motive)  are 
indicated  by  y  type  and  those  requiring  tricot  effects  by  □  type. 


:-    -  .     ■ ::  r  

B   B    B    B   B    B    B    B    B   B   B    B  !  J 
'•    "    "    '.-<    r.1    "•    "  "    "         1-  * 


lj  m; 

L  BB 

□BBC 
□HHC 
□BBC 
□BBC 
□BBC 
□BBC 

'Ebb 

r i  • 

□EE. 

811 

□BBC 
LEE 
□  U  I 
□BB 

□■C 


S  SI 


-S-  SI 


<B  ■ 


]■□■□■□ 


S  S 

ismsb 

s  m  s  •:•  •:•        ■  ■  ■  ■  ■ 

fflnffli  iffli  m   S  :E3i  ;   I'  ~ 

2  ©     'E3  -Si  tmm. 

.S;  ISMS:  m  S   S>     ■  I 

■'  '■  1=  is;       ■  MS!  am  *  ■ 
m  as  is-  3  ■  as  a    ■  as 

■   ■   MS   SB    ■      S>  iSB  "'B  iE 
B    BS    S      B    BS   S      B  BS 

.  S  :SB  B  r:fij-  SB  B  &•  ISB 
v  S  B  BS  S  B  BS  S  i  B  B 
;  ;S  SB  B  }i  m  :SB  B  '&  =SB  B  1 
S  S  B  BS-  -S:  .  B  BS'  'S  :  B  B 
B  B  B  B  B  B  S  S  S  S  S  S 
B  B  B  B  B  BS  S  S  S  S  S  3 
fl  B  B  B  B  B  S  S  S  S  S  S 
B  B  B  B  B  BS  S  S  S  S  S  j 
 □ 


S  ! 


S  I    B    BS'  S 
;  BE      S   SB    B      S  'SI 

L  MLS:  S      B    BS  ;S-  L 


Fig.  503. 
Weave. 


E  B  B  IE  B  B  B  E  E  E  E  B  1  ./ 
E-  B    E    E    B   B   B    E   E  IE    E    B  1* i 


BBBBB    E    BEEBB    E   EBEBE   B  ! 

E   E  E    E  >   E  :Er1 

B  E  B  B  B  E  BBEBEEEBEEBE 
B    E   E    B   E    E  '  ! 

B  B  B  B  B  B  EEBBBEEEBBBB 
E   E   E   B   B   E  '  ■  I 

EBEBE   E   BBBBB  E   EEEEE  B 

'     I  IB    E  ■    B   E  B   E  i 

BBBBB  B   BEEEB   B   BBBBB  B 

:  IE    B  !  B   B  B   B-  I  r 

BSB  EEEEE  E  EBEBE  E  EEEB  C 
B   E  '    E    E  EE  '  i 

B  E  EEEEE  B  EBEBE  B  EEEB 
B  !B  B   B  B   E  i 

EEEEBEBBBEEEE  B  B  B  E  E  I 
E  B  B  E  E  IB!  I 
EBEESBBBBBEBB  B  B  E  E  E  I 
•  B  E  E-  B  E  B  I 
B  B  BEEBB  B  EEEEE  B  BE EE 
E    B  IB    E  E    E        '  1  I 

B  B  EEEEE  E  'BBBBB-  E  EEEB 
JQBBBBBBBBBBBBBBfflGBBBBUHdl 

Fig.  504. 
Effect  in  Fabric. 


Fig.  503  illustrates  at  A  the  dressing,  one  end  light  to  alternate  with  one  end  dark;  B  the 
same  arrangement  for  the  filling,  and  at  C  the  applying  of  the  plain  weave  to  the  ground-plan  502, 
arranged  as  explained  before.  The  weave  for  the  part  of  the  fabric  requiring  the  hair-line  effect 
is  represented  by  a  and  the  weave  for  the  tricot  effect  by  ■. 

Diagram  Fig.  504  illustrates  the  effect  visible  in  the  fabric.  A,  arrangement  of 
warp,  one  end  light  to  alternate  with  one  end  dark;  B,  the  same  arrangement  for 
the  filling;  C,  the  effect  produced.  SvvlIH 

□■□■■□■□£■ 

Fig.  505  is  a  motive  for  another  effect.    Use  8  warp  threads  and  the  same 
number  of  picks  for  each  small  square  in  the  motive.    Type  ■  for  the  tricot  effect      FlG-  5°5' 
and  type  □  for  the  hair-line  effect. 


95 


Fig.  506.  A,  the  indications  for  the  dressing;  B,  the  same  for  the  filling 
Fig.  507  represents  the  effect  as  produced  in  the  fabric. 


C,  the  weave. 


B 


A 

□□□□□□□□^□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a 
:n  ::  ::  ::  b  b  b  b  b  b  b  b  b      3  b  b  3  3  :a 

i  B   B   B   B   B   B    B   B    B    B    B    B    B   B    B    B    B    B    B  B 
-     '  ■   ■    ■    BB   *   BMB      ■■■■■■„■  ■->> 

r.irj,  B      H      H  BB  ■■■■■■■ 

a    a  a  ■  aa  v  a  a    a  a  a  ■ 

cbb  '  a  a  a  a  a  ■  ■  ■    a  a  a  a  a  a  a  b  a  a  a  a 
e  &!  .*  a    ■  ■  ■  aa  a  a  a  ■■■■■■■■ 
bb  ■  ■  ■  *■■■■■■■■ 

r-fi=  >r,  >5  a  a  a  aa  a  a  a  ■■■■■■■■ 

aa  ■  ■  ■  aa  a  a  a  a  a  a  a  ; 

■  ■  ■  bb  a  •:•  ■  ■  ■  as  a  a  a  *  *  *  1 
bb  ■  ■  ■  ■    a  a  a-  aa  a  a  a    a  a  a  as 

■  ■  ■  aa  a  a  a  a  a  a*  •;<  a  *  *  w  mm 
C  bb  a  a  a  a  a  a  as  as: a  a  a  a  a  is  a  as  ibi  m  is;  m 
r  a  a  a  aa:  as  :a  a  a  a  a  aa  a  a  as  as.  ibi  is*  si  1 
r  bb  a  a  a  a  a  *  *  a  a  a  a  a  *  a  a  as  as  :as  .sms 
r        a  a  a  ^BBrtBHBp-iBuiuB  .a  a  a  a  a  s  a  a  isi  a  :sw 

bb  a  a  a  a        a  a.  aa  a  a  a    a  a  a  a  a 

"  a  a-  a    a  a  a  aa  a  a  a    a  a  a  a  a  a  a  a 
aa  a  a  a    a  aa  a  a  a  a  a  a  a 

a  a.  a  aa  a  a  a  a  a  a  a  a 

aa  a  a  a  aa  a  a  a  a  a  a  a 

a  a  a        a  'a  a  aa  a  a-  a  1  a  a  a  a  a  a  a  ■ 
aa  a  a  a    a  a  a  aa  a  a  a  a  a  a  a 
a  a  a  aa  a  a  a  a  a  a  a  a 

a  a  a  aa  a  a  a    a  a  a  aa  a  a  a  a  a  a  a  : 
a  a  a  a  a  a  a  a    a  a  a  a  a  a  a  a  a  a  a  a 
bb  a  a  a  a    a  a  a  aa  a  a  a    a  a_;a  a  a      a  a 
a  a  a  aa  a  a  a    a  a  a  aa  a  a  a  a  a  a  a  : 
bb  a  a  a  a    a  a  a  aa  a  a  a    a  a  a  a  a  a  a  a  / 1 
a  a  a  aa  a  :s>  ;a    a  a  a  aa  a  a  a  a-  a  iO 

bb  a  a  a  a    .a  a  a  a  a  a  a  a    a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  a    a  a  a  a  a  a  a  a  a  a  a  a-  1 
■  bb  a  a  a  a    a  a  a  aa  a  a  a    a  a  a      a  * 

■  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  1 
bb  a  a  a  a    a  a  a  a  a  a  a  a    a  a  a  a  a  a  a  a 

■  ■  ■  aa  a  a  a  a  a  a  aa  a  a  a  a  a  a  a  1 
bb  a  a  a  a    a  a  a  aa  a  a  a    a  a  a  a  a  a  a  a 

■  ■  a  aa  a  a  .a  a  a  a  aa  a  .a  a  a  a  a  a  1 
r'BB  a  ~b  a        a  a  a  aa  a  a  a    a  a  a  a  a  a  a  a 

a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  1 
LBB  a  a  a  a    a  'a  a  :aa  a  a  a    a  a  a  a  ,a.,a  .a  ,ai 

1  40 

Fig.  506. 


n~H~-: 

I  IB!  :BI  IB  >B  3 
1  B   B    B   B  B 


li  .1  i!  I! 

BB  33333333 

;  BB  BBBBBBBB 

CUM      B  3  B  B 

I  BB      B  B  B  B' 

B  B  B  B 

i  BB      3  B  B  B: 

B  B  B  3 

BB      B  B  B  B' 

□Hi  J      B  B  B  B 

□bb  •  :b  b  b:  b: 

i  ]■  Mi  li 
BB  BBBBBBBB 

*    BB  BBBBBBBB 

. 

BB  BBBBBBBB 

■  '    m.  !,  u  ■,  ; 
BB  BBBBBBBB 
B   B   B  B 
BB      B   B   B  B: 
B   B    B  B 
BB     IB:  3   B  BC 
ZMI  I      B   3   B  B 

rr-  §  §  e  w 

[]  g  3  W 

BB      B  B  B  B: 

3  B  B  IB 

BB      3  B  IB  IB: 


EC 


2BBBBBBB 

Jf  il  St  li  ii  ii  !i  I 

BBBBBBBB 

Bl  IBI  !BI  IBI  ii.i:  !'  r  H  il  i;  ii  ii  H  I;  II  H  II  li  1 
B  B  B  B BBBBBBBB BBBBBBBB 
B   3   3   3  1 

b  3  3  """"""" ■ 

33    3  3  3  bbbbbbbbb  3  3  3  bbbbbbbbbbbbbbbbb 

3   3   B    3  3   3   3   3  I 

^.33      3   3   B   BBBBBBBBB   3   B   3  BBBBBBBBBBBBBBBBB! 

40 


Fig.  507. 


Fig.  508,  motive. 

Fig.  509,  effect  obtained  by  using  6  warp-threads  and  6  picks  for  one  small  square  in 
motive.    Repeat :  36  warp-threads,  and  the  same  number  of  picks. 


r~^BBBHT^BBB 

ib  b  b  a  a  a 

□□□BBBCDDBBB 
BBB  BBB 

b  a  a  a  a  a 

BBB  '  '  BBB 

BBB  'BBB 

a  a  b  bbb 

□□□■■■□□□■■a 

BBB  BBB 

b  b  a  a  a  an 

IBBBOZDBBBnnn 


Fig.  508. 


3 BBBBBBBBBBBBBBBBB    3   3'  3   B>  B'  B^BSF-jP^g 

3  3  B  31  3!  3  3  :Bi  iU 
3BBBBBBBBBBBBBBBBB  B  B  B  3  3  3  3  3  IH 
i  )  !  BBB   3    B  '3-  3-  3  IB 

3BBBBBBBBBBBBBBB33    3  IB   3   B    3   3    3    3  3 

3  3  3  3  Bl  3  3  3  3 
333 3 33  3  3  3 3 3 3 BBB  B  B  BBBBBBB  B  B  3 
3   3    3  B    31  3  :     3    B  3 

BBBBBB  B  B  BBBBBBB  B  B  BBBBBBB  3  3  3 
3    3    B    ■  '  B   3.  3  B    3  3 

BBBBBB  3  3  BBBBBBB  3  3  BBBBBBB  3  3  3 
3   3   3  3   3   3'  ■  ■  3    3  3 

33333B333333B33BBB1  3  3  3  3  3  3  3  3  3 
■  3  3  Bl  3  3  3  3  3  3 
BBBBBBBBB 3 3 3 3 3 3 3 3 3 i  3    3   3    3    3   3   3    3  3 

3  3  3  3  3  3  3  B  3 
BBBBBBBBBBBBBB3333    3   3   3    3   3   3   3    3  3 

3    3   3    3   3'  3   3    3"  3 

3  13   3   3   3   3   3   3   3  ^    r  J 

3  3  3  3  3 "  '3!  3  3  3  :  ""^y-"-'*"-'^' f """"""" , 
3  3  3  3  B  3  3  3  3  ' 3 3 3 3 B 3 3 3 3 3 B 3 3 3 3 3 B  B 
3    B    3   3   3   Hi  3        3   '  ■  '  "  J 

3  3  3  3  3  3  3  3  3  33BBBBBBBBB333333B 
3    B   B   BBBBBBB   B   B  B    B    B  I 

BBB  B   3   3   BBBBBB   3   3  3333333 

3   3    3   BBBBBBB    B    3  3   3    3     •'  t 

BBB  3   3   3   BBBBBB   3    3  BBBBBBB 

3   B    B   BBBBBBB1  IB   3  3   3    3  I 

3    3    3  3   3   3   BBBBBB   3    3  BBBBBBB 

3  '3  B  3  '3  B  3  '3  3  I 
3  B  B  3  3  3  B  3  3  B33BBB3BBBB3BBBBBB 
3  3  3  3  B  3  3  3  3  '  I 
3  3  3  3  3  3  3  3  3  333333333333333333 
3   3    3   3   3   3    B:  3  3 

E'JBUBl.B:  ;B.  3;  =3'  IB:  3-  3333333333333333331 


icna.- 
a  ii 

□Bl 


□B  IS 

a  a  IE 

[  ;b.  a 

E.":B  IE 

l  :b  :b 


;b  :b  : 
s. is  .a 

:B  1 
I  ]ffl  IS 

ib  a  : 
:bb^b 
bb  1 
.bb  a 
ib  a 

I  'B  ;B 

.a  .a  i 

16 


Fig.  510. 

16  harness  and  16  picks  for  repeat. 


a  ms  'a-  ia-  us-  w  ;a-  -a-  a-  ;a  a-  a  isnsmsn 
es  a  a  1  a  a  a  ia  a  a  a  a  a  a  a  a  ai  i 
B^aaai  ^  ^  ^  y3  ^  aaa  a  a  a  -a  a=-i 
a  .  -  ■  <  a  ia-  a  a  a  ia 
a  aaa  a  -a  -a  a  :a  a  aaa-  a  a1  a'  a* 
3  a  a  a  a  a  a  iai  iss  lariai  — 
3  a  a  a  as  a-  ibi  m  ;&  m  a 
.3  a  a  a  ia  a  a  a  a  a  a 
a  a  a  a  a  a  a  a  a 
a  a  a  a  a  'a  a-  :a-  ia 
a.  a  a  ©  ®  js* — 
-  -gi  iB:  i;i 

J^B  IB  IB'  ia-  a 
B   B  iBHB' 


Fig.  509. 


Fig.  511. 


Novel  effects  are  also  obtained  by  figuring  upon  the  plain  weave.  For  example,  weave  Fig. 
510  produces  effect  Fig.  511,  by  means  of  I  end  light  or  color  No.  I,  to  alternate  with  I  end 
dark,  or  color  No.  2. 


96 


Effect  Fig.  513  is  produced  upon  a  fabric  interlaced  with  weave  Fig.  512.  Arrangement  for 
warp  and  filling:  1  end  light,  or  color  No.  I,  to  alternate  with  1  end  dark,  or  color  No.  2. 


.3  3 .  mm.  a  a  a  3  a  3  a  mm  a  3 
3  .3  a  ■■  a  a  a  a  a  a  a  bb  3  . 
jh  3  a  ■■  a  a  a  a  a  a  a  bb  a 
a  jb  a  .-a  ■■  a  a  a  a  a.  a  a  .-Bbj 
:.a  .a  a  .a  ■■  :.a  a  .a  ■..a..a  a  ■■ 
■  ia  a  .3  ■■  a  .3  a  bbb  a  a  a  ■ 
a  a  ■■  ■■  3  3  3  ! 
:  jbljbb._..b_.bb_  a  3  .a 

jB._BB_3-3._.BB^3._..3J 

;  bb  .  a  a  a  bb  a  a 
■■  a  a  a  a  mm  a  1 

!■  a  ,a  a  a  na  3  3 
1  ,3  3  ,3.  3.  ■■  a  a 
3  3  3  a  bb  a  a  a 
3^3  ,a  .3  bb  3  a  a. \ 
a  a  a  bb  3  3  3  3 
:  a  a  bb  3  3  3  a  . 
a  :b  bb.  a .  a  a  a_a 
:  a  bb  a  a  a  b  a 
3  bd  3  a  .a  »mm  a 
:  an  3  3  a  urn  bb  . 

.3   3  3   BB  3  BB 


:  bb  .3  mm  3  : 

3    BH    BB   3  3 

□a .  in  a  a 

3  3  b  a  a  a 

□3  ...a  a  a  a  1 
3  3  a  a  a  hi 
:  :3  3  a  a  bb 

BOB  a  3  HB  .! 

a  a.a  bb  ,s 
3  3.3  bb  3  : 

.  a  a  bb  3  3 
a  3  bb  a  a  ; 

a  a  hb  a  a 
a  a  a  ..bb  ,a  : 
:  3  3  3  hb  .3 

B  i3   3   3_BB   BB  a   u  u  ■■  .y.  ur.H 

bb  a  a  a  mam  a  a  a  bb  a. .3.  3J 

bh  a  .a  a  h  a  a  a  hb  a  a  a  a 
a  bb  a  a  a  a  a  a  a  hb  a  a  a 

□3  bb  a  3.  3  a  a  a.  3  bb  3  a  ,a 

1BDBi_BB^3_3_3^3^3-J3lj3^BB^3L13U 

1  -° 

Fig.  512. 

28  harness  and  28  picks  for  repeat. 


BEB3EEE    S3   B    Bi  B'  %■  E   B    B    BBBBBBBBBBB   B    *    K<   (3   Z<  ©  B 

a  a  a  a  a  a  a  a 
bbebbbbb  a  a  a  a  a  a  .a  e 

.a 

e.-bbbbebbbsl 

E  a 


1  a  a  .a  a  ;a 
i  .a  .a  a  a  a 

a  a  a  a  a 
1  a  a  .a  .a  'a  :ta  !bbbbbbbbbe 
s  a  .a  .a  a  a  ;a  i  ;  ;  ,  ,    i  : 
t  a  a  >a  a  a  saaaaaaaaaaa 

•:•  a  a  :a  a  a 
s-s  a-  ia  iB.  je  '  aaa  a  a  a 

f  bmb  a'  a  i      ;  ;  i  i  i  >  \  .a  :B  .a-  ;a 

b  ;Q  ;b  ibb*  -a  a  ;a  ;a  -a 


l,  1  iB> 

a  a 

aaaaaa: 

a 

aaaai  -;ebe- 

a 

sa  is* 
.a-  .a  ,a.- 

a  a  a 

bi  ;Bi  a: 

.a  -:a  a 

,a.  .a-  m  a 


iBBBBaaa  ,a 


a     a'  -B:-:; 

a  a-  .a?-iK 
a'  a-  a«e 
a  a  a«e 
a.  a-  ,a:-.E 
-  a-  -g 


a  a  a  a  a  a 
Bi  a-  a  a'  i-aa  a 


SMiiE3M4ni-i  j  a  im  ^  bi  a  .  a  a  a  a 

;  a  a  >bbbbbbbbbbb  n  a  ib  .a  a  a  a  a  aaaaaaBBBaa-  a  a 

i  a  a  :B  :  s  i  ;       :  id  a  a  :b  .a  :a  ;a  ai  a  a  .  .-,  a  a  a 


i  .a  a  a  aaaaaaa  a  a  a  a  .aaa  a  a  a  a  bbb' 

i  a  a  :a  a    n    ia  ia  -a  .a  -a  3 ;  m      -a!  as  at  ~ 


t  ,a  a  a  a  aaa  a  a  a  a  ia 
1  a  -a  a  a  a  >b  a  a  a  ia  t 
aa  a  a  a  a  .a  .a  a  a  iaaaaaaaaaau 

-   1  is  ;a  ;  ■  ;  i  i  -  i  : 


a  a  a  a  aaa  a  a  a 


iSaaHWB=;Bi--B, 
Bi 


t     ;a-  as  ;b  .a  a  a  sa  b  i 

.  a  a  ;a  ,a  .-a  m  w  jbnbbbsbbebbbb  a 
-  a  a  a  a  a  a  a  b  ia  i  ;  :  s  :  h  a  -  .  b 
bbenb  m  jb  a  :a  a  a  a  -bbbbbbbbbbb 


a  a 

a 

a 

a 

a  a 
a  a 


>a>  .-a-  &  a  a 
a^  a-  a  a  a 
a.  a  a-  ai 


a  a 


a  a  .a  a  a  a  a  ,a  m  j 

BBBBBBBBi  jffl  ?a  ifc  iB  'B  :B  ;B  B  -BBSBSBEEBBB  B 

!     if  ii  i    .:  -  ia  ;B  .a  ;B  a  a  a  ia  ia      t         ■  ■  -  a 

i-paaaaa  a  a  a  a  a  a  ia  sa  a:  >-:  . 
t  -Bi 1      ■■  ■  ■  b  a  a  a  a  a  a  a  .a'  ai  a 

iEiSuBBBBB  a  a  .a  a  aaa  a  a  .a.  Bt  a  aaaaa:  a  a  b-  .b  aaa 

f  a  .a  -a  a  a  .a  a  -a       :  ;*  b  B  >:«  a  b  b-  b  b  b  b  S3 

s  ©  .s  -h3  b  b  a  b  aaaaaaa  >a  a  a>  a  a^  a  a  .a  a  .a  .bbbbbb 

f  a  a  B'  a  -b  a  a  ai      a-  a:  e;  b.  a  a  a 

mb  iB' -a  aaa  a  a:  a  a  a  a.  a  a  bbbbbebb 

s  iB  ;a  .a  -a  .a  .a  .  -,  .s«  bi  bi  Bi  a  .Bi  .a  a  a 

BSBlBSEi  a   B   aaBBBBBBBBB!  :B'  Bi  B :  Bi  B    Bi  Bi  B  BBBBBBBBBB 

•  a  a  a  a  a  a  a  a-  a  *•  a  a  a  a 

te  iB  a  -a  bbbbbbbbbbbrs(  -a-  B;  b-  b.  b  a  bbbbbb.- - 

i  a  a  a  >a  1  "  a  a  a  a  a  >  ^  a- 

.-BSBBBBBBB  B    B   B    B  BBBBBfflfflBBffiffif--Bt- 

s  b  a  b     j  a  a  a  a  ai  a-  a-  a  a  :  a  a 

tiB.  B  -iSSBBBBSBBSB    Bi  iB-  m  :Bi  Bi  B    B-  B    BB  '  I^B    B  B 

e  a  a  a    ,  1    '    i  ■  a  a  a  a.  a  Bi  a-  a  a  a    ..     1  .-aaa 

f  B'  iB'  iB1  'BBBBBB B    B    B   B    B  "BBB    B   B    B    B  1<    B  B 

i  a  -a  a  &       .  -a  a.  a  a-  a:  .•   ;■  h  a  a:  a  a  a  .  .  .  a;  a  a  a 

i  a  .a  iB  .a  aaa  a  a  a  .a  'aaaaaaa  a  a  a  a  aaa  a  b,  b-  a 

i  a  a  -a  a  a  a  a  a  a  a  a  .a  b.  a  a  a  a  a  a  a' 

aa.  a  a-  a  a  a  a  a.  a.  aaaaaaaaaaa  a!  a  a>  a  a.  a  a:  a-  bs 

f    ■  a-  .a  a  .a-  a  a  a  a  a^  ii  t  -ii  ;m?  ,m  ,    ■  a  b-  B'  Bi  a^  b  a:  a-  a- 

bbbb  a  a  a  a  a  a  a  >i-r  bbbbbbbbbbb-  b>  b=  a--  at  ar-BK-BKBh 
1;   .      a.  a  a  a  a  .a  a  Bi  'Bi    \  >  \ ;  1  ,  x  :m  a?  ibe     a,  iBNBi  Bi  :• 


a  a  b 

Bi  a  a 

a  a  a  a 

a  .a  a  a 

B  -BBB-.-B 
B.  =i  5=l  it:  iB 
BBBBEBB 
4i  3L  =  Pga« 
BBEBBBB 

BBBBBBE 

a^  .  -,^y 

ffll BBBBB 

a  a  ^=aa 


a 

a  a:  a  -i 

i   B-.  B  :E 


aaa-  a  a 
i:  a  a  .b 

Bi  B  B.  -B 
Bi  B   B  B 

b--  -Bi  a  a 
Bfc  a-  a  a 

Bi  Ei-B^iB 
Bi  B-EMB 
Bi  iB;  B  B 

a;  a  a  a 

a--  aaa--- a 
B:  ;y=i  a 
iBBBBEBB 

IN;  m-  isdi 
iBBBBBBB 


^BiUiBiiiaBEii 


Fig.  513. 


The  same  arrangement  of  using  alternately  light  and  dark  threads  will  produce  on  a  fabric 
interlaced  by  weave  514  the  effect  shown  in  Fig.  515. 


B3eb  w  a  a  ©•  a  a  :a  b1  'B!  w  '.mam  m  &  a  a  a  a'  a-  a:  a-  an 

f  •      a- -a  a  a  a  a  a  -a  a  a-      • &  a  a  a  a  a  a- -a-  a.  .m  \ 

bbbbb7  a  a  a  a  a  a  .a  .a  :bbbbb  j  a  a  a  a  a  a  a 

a  a  a  a  a  a  a  a    .    '     t  •    a-  a  a  a  a  m>  -b  a    :  ? 

aaaaaaa  a  a- a  a  a  a  aaa  aa  aaaaaa  a  a-  a  a  a--  a  bbbb 

a  a  a  -a  -a  a  •  i  -       a  a  a:  at         ■  •>  m 

bbbbbb  a  a  a  a  a  a  a  ••    -     aaaaaa   •  :  ;•  a  a  a  a  bbbbbb 

a  a  a  a    •  a  a  &  b  c  J 

BBBBBBBBBBB    B  .B  ;BBBBBBBBB BBBBBBBBBB    B  B    BBBBB BBB 

a  a  •  1 


a  i   ;   i   i   3    ii  i,   I  .1 

3BB    BBBBBBBBBBB  BBB1-!-  jBBEBB 

a  '  i  1  i  '  ■  1-  'ii  il  -t  '  '      r  Bi  .i  ii     i;        i-H  i  r.M"! 


aaa         :  -    s ,  at  a.  Bi  ■  ' 

B    B    B  iBBBBBBBBBBBBBBBBBf  B^BME!  BBBB 

a  a  -a  -a  i  i-t  i  t  s    a!  B'  a  a  B;  ; 

a  .a  a  a  bbbbbbbbbbb  a  a  a  a  smee  i 

-a  a  ;a  :b  a  ■  ■  :  ;  3    ;■■  i      ai  a  a-  a'  a.  a-  a  i 

B  iB  IB  'B    B    BBBBBB B BBt  B    B.i  B    B'  B    B-  B  BBBBBB 

a  a  'B  ja  -a-  a  .  .  -  ■  ■  i  a-  a-  Bi  b-  a  a  a  a-  a 

a  a  a  >n  a  b  ^aaaaa-  a-  a'  Bi  a-  a-  a-  b.  b;  b;  eebb 

b  iB- -a  a  a  b  a  ■     a:  a  ai  a-  b  b-  b-  b  b-  b:  a-  m 

a  a  b-  "a  a  a  a  .&  BBBf  qi  a:  a  a  a'  a  a  Br  be  sm 

*    *    ±    *    *         ft  iSi     .|  ,  •  gi=  t^i  Bi  B'  Bs  B:  Bi  BBB; 

a  --a  a  -b  -b  b  -b  b bbbbbb  a  a  a  a'  a!  b-  m  a-  aa 

a  ib  a  a  ;b  a  a  ■  ■  r  i  '  t  .  !  a:  a  a  a:  bi  bi  ei 
a  a  a  a  a  ie  iBBBBBBBBBBBi  a 

'B  iB  ;B'  iB   B   B        i         '  i  •  i  i  i  1  B'  Si'  .a 


i       E       i  :H 

^EBBB 

i  .e. i,m 


-iBE-iBf.-iBBBB 
_  -BE'  Bi  BI  :  i  ■  :-  i 

B    B    B  iB   B.BBBBBB BBBBBEBB    B    B    B   B  BBBBBB 


S  ;  ; 
BEES 

I  : 

aaa* 

BBB- 

E  :  X 
EBBS 

f 

BBBf 

i  ;'  ;  ; 

aaa 

E  '  iB 


B'  'B  iB 
:B  'B;  iBB 


If 

SB 

r  r  m\  I 


BEiBI  B'  a 
EBBBBt  BEi-iBE  :BE 
"BPBE "' 


i  ii  ii  3 
3BBB 

i  if  If  ;i-ii  1 


aaaaaaaaaaBBBBBBBBBBBBBNBBBBEi 


if  ;f  :E  if  31  ;i--lBf  IBE'EE 


IB 

a  a 

a  a 

iBBBBBB 

e-  i  -:e-;e  ii  m 

iEBBBBB 

!E  ii  !i  i1  ii  i.  i 


ib  7S..jB:  Bi  :B  iB.  ..a  .a  .a  m  7Bi  31  ;t  iai  :Bi.; 

1  24 

Fig.  515. 


a  a  Bi  a  a  ;  1 

~t  'BE-  'B    B  B.  BBBBBBBBa 

a;  a  a  a  a:  a  a      •  •  1  11 

bbbbbb aaa  a  a  a  a  a  a  a  aaaaaa 

a              a  a  a  a  a  a  a.  a  a      .  i  1 

3Besb:  a-  a-  a  a  a  Bi  bbbb 

i  -BL  Bi  B  B  Bi  .BUBb3Ue-3 


24ni 

a  bb  a  a  a  a  a  a  a  a  a  b 
a  bb  a  a  a  a  a  a  a  a  bb 

a  a  bb  a  a  a  a  a  a  a  bb  1 
a  a  bb  a  a  a  a  a  a  bb  3 

a  a  a  bb  a  a  a  a  a  bb  a  i 
a  a  a  bb  a  a  a  a  bb  a  a 

a  .a  a  13  bb.  13  ia.  .a  bb  a  a 

. a  a  a  a  bb  a  a  bb  a  a  a 

a   3  .3   3  13  BB  '3    HB  13   3  .3  I 

a  a  a  a  a  hb  aa  a  a  a  a 
a  a  a  a  a  a    hb  a  a  a  a  i 

a  b  a  a  a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  a  a  a  a  3  a 

a  3  3  aa  .3  aa  3  a  a  a  a 
a  a  a  aa  a  a  bb  a  a  a  .a  j 

a  a  aa  ib  a  a  bb  a  a  a  a 
3  a  bb  3  ;a  3  3  bb  a  a  a 

a  bb  a  ia  3  ia  3  a  a  3  a  a 
a  bb  a  a  a  a  a  a  bb  a  a  1 

aa  a  a  a  a  a  a  a  bb  a  a 
aa  ib  a  3  3  a  a  a  a  aa  a  i 
a  a  a  a  a  a  a  a  3  a  bb  a 
1.  a.  a  a  3  3  3  3  3  3  3  aa 


Fig.  514. 


The  effect  illustrated  in  Fig.  516*  is  produced  upon  a  fabric  which  has  the  warp  and  filling 
(arranged  I  end  light,  or  color  No.  1,  to  alternate  with  1  end  dark,  or  color  No.  2)  interlaced 
with  the  broken  twill  weave  Fig.  517. 


97 


The  same  arrangement  of  colors  in  warp  and  filling  (i  light,  I  dark)  used  upon  weave 
Fig.  518  (broken  twill)  will  produce  design  Fig.  519  for  effect  in  the  fabric. 


Esse 

* 

3B"SSBBBBBBBHE 

*E'  BBBBBB 

!  Si 

m  m 

E3!  S 
EE  * 

B  BBBBBB 

mmm 

•:•  * 

B3'  :tS 
EB  B 

BB* 

9  b  1  'mm 

; 

bbbbb  b  bb  ►»:•►»:• 

1            ..  .B  ,  . 

m  5  bbbb 

Fig.  516. 


!-■    D  ■■ 

■  ■■  a    a  a 


1 

■ 

Fig.  517. 


■'  '■  '  ■    a  a  a 

■  ■  ■  bb  a  a 
'  ■  ■  ■      a  ,  a  a  i 

■  ■  ■  a    a  a  a 

■  ■  ■  ■        a  a  1 

■  an    a  a  a  ,  i 

■  ■  1  ■  bb  a  a  a 

■  ■    ■    'a  a    a  1 

a  a  ■  ■  ■  1 
a    a  a  bb  ■  ■  ■ 

a  a  a    ■  m  m 
[  a  a  a        a  a  ■ 
a  a        ::b     ■  ■  ■ 
1  a  a    a    ■    ■  ■  1 
a  a  ,  a  bb  ■    a  a 
1  a    a  a    a  a  a 


Hi 


Fi  f.  518. 


Repeat 


\  16-harncss, 
J  16  picks. 


Fig.  520  illustrates  the  fancy  color  arrangement  applied  to  a  fancy  twill. 
A,  the  weave,  8  harness  and  8  picks  repeat. 


EE3@BB"S   ►I'****   B    **>■>:•>:<   B  BBBBB 


BBB 

s 

Efi  S 


: 

E3ESESE 


►5   BBB    B   BBBBB  B 

m  t  *  t  b  *  g  ;sy  s 


B  ! 

►J  I 

B  ) 

B  1 

*  ] 

*  ! 

mm 

1 

:b  i 
b  1 
B'  1 
b  1 


m.  i 
b  • 
m-  1 

B  ! 

•:•  1 

m-  1 
mm 

■  ;  ! 
3'  ! 

m- 1 

iB  ! 

m  1 
1 

-;  m 


m  m  .        m  m       1  m  m 

16 

Fig.  519. 


B 


■'  aa      a    .  :r 

BB  BBB 
BB  BB 
BB  BB 

■a  aa 

BBB  BB 
BB  BB 

BB      BB  " 

a  a 

!  :rcs  m  ~r:,  ■  ,  aa 
aa  aac 
aa  aa 

i:-nn  .  a 
aaa 

aa      a  aa 


~^g 

_:;i~n 
l 

aa 
a  a 

i 

ggg 

:  :a 
aaa 
aa 
aa 
aa 
aa 


aaa 

■  :aa 


'GOQBf'!  g>  v  .aa  :a 
aa  aaa 
aa         aaa  aa 
aa      ;  •  aa  'aa. 

a    aa      a  ■  aa 
aaa    a a  aaa    a a 
a a      a  a a    aaa  a a    a a 
gggbe  .        aa    aa    aa  aa 


□□□□PMC 

□□□□□a: 
C       a  a 

r  inGRgi: 

□□□□BHC 

:  aa 
;  aa 

: 

□□□□ear 
□(  Gr  mmi 
.    a  a 
1       a  a 

! 

OGOQifflL 

□□ 

g_.  .  aa 


a  a  a  a  bbi.j  a 
a  a      a  a      a  a  a 

dgogogg;"  gg.gglg  □;  ;□ 
]□□□□□□□□□□□□□□□□□ • 

IGGGGGl  ' 


;a 

i  a 
a 
•a 

a  a 

Fig.  520. 


Fig.  521. 


B,  the  arrangement  of  the  warp, 

C,  the  arrangement  of  the  filling, 

D,  the  effect  produced. 


2  threads  light  to  alternate  with  2  threads  dark, 
the  same  as  the  warp. 


□□■■□□■■□□□□□□□□□□□Gncro 

■   B  BB 

■□■□■■□□□□□□□□□Gnnnnnnna 


BBOOBBOOGOGGCGL 

GGG  :  'BBi  i 

a  a  • 
i  a  a 

t  BB 

[        BB  BBBBBB 

c     a  a  be 


GGC 
/">□□□ 

^GGG 

GGG 
GOG 
QGOH 


:  m 
eg 
;  a 


BBi  ins-  aa 

L       B  B        BBBBBB'  BBBBBB 

[     bb      aaa  :aaa  a  \ 

L     a  a      aaa  :a  a  a 

[  aa      aaaa  a 


Fig.  522. 


I  .  BB'  ](  BBB  XlGQGGGaaGr 
BB  jBBGBQGBGGGQQQQQQGGr 

BB   BB.  '   B  B 
BB        B    BBB  BBBBBB 

b    b    bb  bb  a:, 

1  BB'  ■■  j  a  j  aa:: 


B 

GGBQGBGBBQBBGQGQGGGGGr  [ 

"^□□□□□□□□□a 
laaGaaaaaaa 
]□□□□□□□□□□ 

IB  BBB  -i 
1BBBB 
IBBBB 
SBBBB 

,.  '  ,n 

innnnannGDD 


BB  BB 

[  BB  B 

□□□□BBBBDnnDGBS  a  ' 

aaaa  aaaaaa: 
aaaa    :  v  bbbbbb! 

aaaa  Gaaaaaa: 


w 


□nm^'-t  aa 
jg:  g  a 
aaaa  aa: 

GQGGBBBBQGGGBa' 


QGQGHHHnQGCGBBaBBB^^    B^  BBBBBC 

aaaa        aaaaaa  Ba^aa'aaaa: 


aaa  \ 
;a  aa 


Fig.  523. 


Figs.  521,  522  and  523  illustrate  three  specimens  of  effect  produced  upon  fabrics  interlaced 
on  granite -weaves.  In  each  figure  A  represents  the  weave,  B  the  dressing,  C  the  arrange- 
ment of  the  filling,  and  D  the  effect  produced. 


Single-Cloth  Weaves  for  Fabrics  of  a  Special  Construction 

and  Peculiar  Character. 


HONEYCOMB-WEAVES. 


The  Principle  of  Constructing  Honeycomb-Weaves  and  the  Peculiarities  of  Fabrics 

Interlaced  with  them. 

In  these  weaves  squares  are  to  be  formed  by  floating  (more  or  less)  part  of  the  warp  and 
filling  threads.  These  warp  and  filling  threads  will  float  on  the  face  opposite  to  the  back  of  the 
fabric;  also  on  the  place  where  the  longest  floating  warp  and  filling  thread  interweaves,  will  be 
formed  a  groove  on  the  back  of  the  fabric  and  vice  versa  on  the  face.  Hence  we  get  the  peculiar 
appearance  of  the  fabric  known  as  honeycomb.  The  difficulty  for  the  designer  consists  in  so 
arranging  the  weave  that  when  the  warp  floats  on  the  face,  the  centre  point  of  this  float  will  form 
the  centre  point  for  the  filling  float  on  the  opposite  side  of  the  fabric.  And  again,  when  the 
centre  point  of  the  filling  float  is  taken  into  consideration  on  the  face  of  the  fabric  and  we  put  a 
needle  straight  through  the  fabric  on  the  designated  spot,  the  point  of  the  needle  will  meet  the 
centre  of  the  warp  float  on  the  rear  side  of  the  fabric. 

Different  methods  are  observed  in  designing  these  weaves. 

Honeycomb-Weaves  Designed  on  Point  Draws. 

■  and  □  Raisers ;  n  Sinkers. 
Fig.  524  shows  the  plainest  honeycomb-weave,  executed  on  8  warp-threads  and  8  picks 
repeat,  with  the  "point  draw"  for  5 -harness  below  it. 

n^a^»na 

(  jH  mmm  a  :a  ■■■  a 
a  ■■■■■ 
■■■■■■■  ■■■■■■■ 

a  ]■■■■■□ 
1  a  ■■■  a  a  ■■■  a 

a  ■  a  :    a  ■  a  ] 
a  a         a  a 
8anacBaa^"  a  ■  a  : 
;  a  ■■■  a  a  ■■■  :a 
□□■■■■■□a 

■■■■■■■ 
a  ■■■■■  a  ■■■■■  1 

a  a 

□.  a  ■  a  ,  .  a  ■  is  i  a 

□□□□□□□□□□□□□□□□  ■ 

□□□□□□□□□□□□□□□a  ■■■ 

□□□□□□□□□□□□□□□a  t>  •„«.  n^„,                            ■■■■■  □ 

■     1  roint  Draw  ■■■■■■■  n  ana  „ 

i ;    ■  ■         a  ■            r_  _                                   ■■■■■  B  a  :  i  B 

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Fig.  524.  Fig.  525.  Fig.  526. 

Fig.  525  illustrates  the  floating  of  the  warp  in  above  design,  thread  A  A  forming  the  centre 
of  the  float,  which  gradually  decreases  in  the  adjoining  warp-threads. 

Fig.  526  illustrates  the  floating  of  the  filling  in  design  Fig.  524,  pick  B  B  forming  the  main 
float,  which  decreases  in  the  adjoining  picks. 

By  these  designs  it  appears  that  the  warp  float  is  two  threads  longer  (7  picks)  than  the  filling 
float  (5  ends). 

Fig.  527  illustrates  the  honeycomb-weave,  designed  for  10  threads  in  each  system.  The  main 
float  in  the  warp  covers  9  picks,  and  the  filling  float  forms  the  square  in  the  fabric  with  a  pick 
floating  over  7  ends. 

The  point  draw  for  this  weave  requires  6-harness. 

(98) 


99 


Fig.  528  shows  the  honeycomb-weave,  designed  for  12  threads,  warp  and  filling  ways.  The 
heaviest  float  in  the  warp  covers  1 1  picks,  and  the  greatest  filling  float  covers  9  warp-threads. 
The  point  draw  for  this  weave  requires  7-harness. 


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Fig.  528. 


Fig.  529  is  the  honeycomb-weave  designed  for  14  ends  in  warp  and  filling,  with  a  main  float 
in  the  filling  covering  1 1  warp-threads. 

Point  draw  for  this  weave  requires  8-harness. 

Fig.  530  illustrates  the  honeycomb-weave  for  16  ends,  repeat  in  warp  and  filling, being  about 
the  largest  arrangement  of  this  weave  used  on  a  high  texture. 


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Point  draw  requires  9-harness. 


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A  second  style  of  honeycomb-weaves  is  designed  after  the  following  method :  Run  on  the 
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100 


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534- 


Fig. 


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Figs.  531  and  532  are  designed  to  illustrate  this  style  of  honeycomb-weaves. 
Fig.  53 l-    Repeat:  12  ends  warp  and  12  picks. 
Point  draw :  7-harness. 

Fig.  532.    Repeat:  14  threads  warp  and  14  picks. 
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Fig.  536. 


We  now  pass  to  a  third  style  of  honeycomb-weaves,  having  a  double  line  of  twills  for  the 
main  square.    In  this  manner  Figs.  533  and  534  are  executed. 
Fig-  533  has  for  its  repeat  12  warp-threads  and  12  picks. 


101 


Fig.  534  has  for  repeat  14  warp-threads  and  14  picks. 

These  honeycomb-weaves  have  also  the  filling  float  sometimes  outlined  by  one  row  of  twill, 
as  illustrated  in  design  Fig.  535,  which  is  taken  in  its  foundation  from  Fig.  534. 

Figs.  536  and  537  illustrate  fancy  combinations  of  the  honeycomb-weave  for  groundwork 
with  point  twills  for  the  figure. 


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Fig.  537- 


A  fourth  division  of  the  honeycomb-weaves  embraces  those  known  as  "  star  effects." 

The  appearance  of  these  weaves  in  the  fabric  is  of  a  different  character  from  those  previously 
described.  The  effects  produced  by  these  weaves  in  the  woven  fabric  are  quite  novel,  and  a 
careful  study  of  the  annexed  designs  will  not  only  give  a  thorough  understanding  of  their  con- 
struction, but  will  greatly  aid  in  developing  new  ideas  for  weaves  in  this  line  of  fabrics.  The 
point  draw,  which  has  been  used  to  such  a  decided  advantage  in  the  first  three  divisions,  is  not 
used  in  this.  v  ,  ,  . 

Figs.  538,  539  and  540  are  different  weaves  designed  on  this  principle. 


102 


Fig.  538-    Repeat  of  pattern:  16-harness  and  16  picks. 

Check  A  contains  in  its  8  ends  repeat,  a  twill  running  in  a  direction  from  left  to  right,  the 
twill  line  being  formed  by  the  warp  upon  filling  ground. 

Check  C  is  the  same  weave,  warp  and  filling  exchanged,  and  direction  of  twill  reversed. 
Check  B  and  D  are  bound  in  plain  for  forming  the  groove. 

Fig.  539.  Repeat  of  pattern:  28  harness  and  28  picks.  This  weave  is  an  enlargement  of 
the  preceding  one  and  explains  itself. 


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Fig.  538.  Fig.  539.  Fig.  540. 

Fig.  540.  Repeat:  18  warp-threads  and  18  picks.  This  weave  contains  in  its  principle,  in 
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Checks  B  and  D  are  interlaced  plain  for  forming  the  groove. 

A  fifth  division  of  the  honeycomb-weaves  is  created  by  forming  squares  with  a  certain 
number  of  warp  and  filling  threads,  floating  (equal  long  floats  for  each  thread  in  either  system) 
regular  distances.    Figs.  541,  542,  543  and  544  are  designed  to  illustrate  this  system. 

Fig.  541.  Repeat:  12  warp-threads  and  12  picks.  Can  be  reduced  to  a  4-harness  "section 
draw." 

Fig.  542.  Repeat :  12  warp-threads  and  12  picks.  Can  be  reduced  to  a  4-harness  "  section 
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Fig.  541.  Fig.  542.  Fig.  543.  Fig.  544. 


Fig-  543-  Repeat:  14  warp-threads  and  14  picks.  Can  be  reduced  to  a  6-harness  "  section 
draw." 

Fig.  544.  Repeat :  16  warp-threads  and  16  picks.  Can  be  reduced  to  a  5-harness  "  section 
draw." 

IMITATION  GAUZE. 

These  weaves  are  used  for  such  fabrics  as  dress  goods,  curtains,  ladies'  aprons,  canvas  cloth, 
etc.  In  designing  these  weaves  the  end  to  be  gained,  is  to  have  3  to  4  warp-threads  and  also  3  to  4 
picks  intersect  each  other  very  easily,  while  the  next  following  warp  and  filling  thread  form  a  com- 
plete break  from  the  one  ahead,  and  so  can  be  readily  kept  apart  for  some  distance.  In  the  warp 
these  breaks  are  separated  by  the  reed  by  leaving  one,  two,  three  or  more  dents  empty.  The 
threads  required  for  a  close  working  are  drawn  in  pne  dent.  To  give  a  clear  explanation  of  the 
matter,  Figs.  545  to  553  fev^  beea  dejsignedv'       -  ,    .  : 


103 


TM    ■    ■    ■    ■  ■ 

!■■■■■■ 
■■■  ■■■ 

■  ■  ■  ■  ■  a 


[■■■■■  ■  • 

■  ■■HUM 

aaa  mam 

^■□■□■□■□■□■□i 

Fig.  545- 


Fig-  545  illustrates  the  6-harness  imitation  plain  gauze-weave;  the  eomn   a  m 

lines  for  the  warp  (  |  )  indicate  the  break,  and  so  the  place   in   the  f  ■■"   ■  ■ 

reed  where  one,  two  or  three  dents  are  to  be  left  empty.    Warp-threads,  'ggg  ggg 

I,  2,  3  are  drawn  together  in  one   dent,  as  also  warp-threads  4,  5  "  "  cmd 

and  6.  FlG-  546. 


Examining  the  weave,  filling-ways,  the  break  appears  between  picks  3 — 4  and 
6 — 7,  etc.  Picks  i,  2,  3  intersect  easily,  and  also  in  their  turn  after  the  break,  picks  4,  5,  6,  to  be 
followed  again  by  a  break;  picks  6  to  7  equal  to  6  to  I. 

Fig.  546  represents  a  general  analysis  of  the  weave,  which  will  at  once  convey  an  idea  of 
the  method  of  arrangement  and  operation. 
f  a  to  by  =  3  warp-threads  for  1st  dent, 
j  b  to  c,  —  space  for  one  (or  two  or  more)  empty  dents. 
\  c  to  dy  =  3  warp-threads  for  the  3d  dent  (or  4th,  5th,  etc.). 

j  From  d  to  repeat  of  weave  again  (=  a)  leave  space  (empty  dents)  equal  to  the  one  left 
^  from  b  to  c. 

{'  a  to  e,  =  3  picks  for  close  work. 


^0 


e  to  /, 


/to* 
[_  From 


=  space  for  open  work,  equal  to  b,  c  in  warp. 
=  3  picks  for  close  work. 

to  repeat  of  weave  again  (=  a)  leave  space  equal  to  the  one  left  from  e  to / 


■■■■ 


□□□□■■■■□□□□■I 
aaia  Hi 
■    ■  ■■  ■    ■  j 

1        I        I  I 


Fig.  548. 


b°bs  :ss: 


Fig.  549. 


Fig.  547  illustrates  the  enlargement  of  a  fabric  produced  on  weave  Fig.  545,  under  the  pre- 
viously explained  rules.  As  this  figure  cannot  help  but  to  explain  itself,  we  will  consider  the 
imitation  gauze-weave,  produced  upon  8-harness  and  8  picks  repeat,  which  is  shown  in  Fig.  548. 

The  lines  for  the  warp  (  |  )  indicate  operations  as  explained  by  Fig.  545,  the  break,  hence 
the  place  for  one,  two  or  more  empty  dents,  so  as  to  form  the  open  work  in  the  warp.  Warp- 
threads  I,  2,  3  and  4  are  drawn  together  in  one  dent,  also  warp-threads  5,  6,  7  and  8,  etc.  In 
the  filling  the  break  appears  between  picks  4 — 5  and  8 — 9,  equal  8 — 1. 

Fig.  549  represents  the  analysis  of  the  weave  with  regard  to  appearance  in  the  fabric. 

Warp. — a  to  b,  4  warp-threads  drawn  in  one  dent,  b  to  c,  for  one  empty  dent  (or  two 
or  more),  c  to  d,  4  warp-threads  drawn  again  in  one  dent.  From  ^to  repeat  of  weave  (=  a) 
leave  the  same  number  of  empty  dents  as  left  from  b  to  c. 

Filling. — a  to  e,  4  picks,  close  work,  e  to  /,  space  for  open  work,  equal  to  b  to  c,  and  d  to 
a,  in  warp.  /  to  g,  4  picks,  close  work.  From  g  to  repeat  of  weave  again  (=  a)  leave  space 
equal  to  the  one  left  from  e  to  /. 


4 


104 


Fig.  550  illustrates  the  enlargement  of  a  fabric  produced  on  weave  Fig.  548,  under  the 
rules  already  mentioned. 

Figured  Imitation  Gauze. 

The  first  step  for  figuring  imitation  gauzes 
is  to  produce  stripes  of  the  same  in  connection 
with  part  of  the  fabric  woven  in  the  common 
manner.   With  regard  to  wear,  imitation  gauzes 

yet  as  to 


will  be  less  durable  than  real  gauze 


A 

Plain  Ground.J 
^■□■□■□■□■□■□i 

■  .■   ■  BIB 


c 


D 


I   B   B   B   B   B   B   B    B    B  1 

B  B  U.jJ  B 

i  B   B    B  B  B   B    B   B    B  1 

]□□□□■□□□□□□□■□□□□□■ 
I   BB    B    B   B   Bfl   B  ■ 
B  B  B 

IB   B.  B    m    B  B  B  B  B  ) 

]□□□□■□□□□□□□■□□□□□■ 
I   B   B    B    B    B   B   B    B  B 

]□□□□■□□□□□□□■□□□□□■ 
I   fl    B.    K   H    B    B    B   B  fl  ) 

a  a  h  m  m  m  m  m  m  a 


Fig.  551. 


general  appearance,  very  novel  designs  are  pro- 
duced in  the  former.  Fig.  551  illustrates  the 
weave  for  such  a  combination  of  common,  plain 
and  imitation  gauze  forming  stripes.  A  is  the 
common  plain  interlacing  part,  B  the  close- 
reeded  part,  B  to  C  and  C  to  D  forming  open  work  (separated  by  thread  C).  D  is  the  close-reeded 
part,  D  to  E  and  E  to  F  forming  open  work  (separated  by  thread  E).  F  close-reeded  part.  Repeat 
of  weave:  32  warp-threads  and  12  picks. 

The  second  movement  in  figuring  is  the 
forming  of  checks. 

Fig.  552  illustrates  such  a  design,  forming 
in  the  fabric  checks  interlaced  on  the  common 

36anaaaaanHnHnHDHGHaBnBnBnBGBnBaB^BnBG 
1  3  a  a  a  a  a  a  a  a  bbb  i  .  bbb  j  ;  bbb 
a  a  .a  a  a  a  a  .a  .a  b  b  b  a  b  m  m  m  m  j 
;  a  a  a  a  .a  a  a  a  a  a  am  a  a  ■  i  ■  ■ 
a  a  a  a  a  a  a  a  a  aaa  bbb  :  i  bbb  i 
[  a  a  a  a  a  a  a  a  a  b  a  h  b  b  a  a  m.m 
a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  ] 
1  a  a  a  a  a  a  a  a  a  j  i  bbb  j  ,  bbb  ]  i  bbb 
a  a  a  a  a  :a  .a  a  a  b  a  a  b  b  a  a  a  a  i 
:  a  a  a  a  a  a  a  a  a  a  a  a  a  11  ■  m  a 
a  a  a  a  a  a  a  a  a  .bbb  til  bbb  .  bbb  .  i  i 
:  a  a  .a  a  a  a  a  a  a  a  m  a  b  b  b  a  a  a 
a  a  a  a  a  a  a  a  .a  a  a  a  b  b  a  a  a  a  i 
i  a  a  a  a  a  a  a  a  a  kbb  r  bbb  ;bbb 
a  a  a  a  a  a  a  a  a  bbbbbbbbb 
i  a  a  a  a  a  a  a  a  .a  a  mm  a  a  a  a  a  b 
a  a  a  a  a  a  a  :a  a  bbb  •  bbb  i  bbb  n 
a  a  a  a  a  a  a  a  b  b  b  b  a  a  a  a  a 
a  a  a  a  b  a  a  a  a  a  a  a  a  a  a  a  a  a  i 
i  bbb  bbb  ,  ,  bbb  a  a  ia  a  a  a  a  .a  a 
a  a  a  a  a  a  a  a  a  a  .a  a  a  a  a  a  a  a  i 
.  a  b  b  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a 

BBB     :   BBB        BBB        3   3   3   3   3   3   3  ,3    3  J 

•  a  a  a  a  a  a  m  m  a  a  a  a  a  a  a  a  a  a 

BBBBBBBBB   3  13   3  13    3   3   3  13    3  I 
III        BBB  •  i  .  BBB  13  -3   3    3    3   3   3    3  i3 
BBBBBBBB   B   3   3   3   3  13  ,3  13    3    3  j 

-;  a  a  b  a  a  a  a  n  ffl  3  3  a  3  a  a  a  3  a 

BBB         BBB        BBB        .3   3   3   3    3    3    3    3   3  I 

'Bbbbbbbbb  13  a  a  a  3  a  a  a  a 
b  a  b  a  a  a  a  a  a  3  a  .3  a  ia  a  a  3  3 

i  in  bbb  aaa  a  a  3  a  a  3  a  3  a 
b  a  b  a  b  a  b  ia  a  a  3  a  a  a  a  a  a  a  1 

B    B    B    B   SB    B    B    I    H   3    3    3   3    3   3   3   3  3 
BBB         BBB        Mil         3   3   3   3    3   3    3    3  3 

i  a  a  .a  a  a  a  a  .  b  a  a  .3  .a  .a  .a  .a  3  .3  .3 

1  30 

Fig.  552. 

plain  weave  to  alternate  with  checks  produced 
by  imitation  gauze;  36  warp-threads  and  36 
picks  forming  the  repeat.  Reeding:  3  threads 
in  one  dent,  2  dents  empty,  and  over  again. 

Diagram  Fig.  553  illustrates  the  plan  of  FlG-  553* 

the  fabric  woven  with  weave  Fig.  552.  This  method  of  combining  the  plain  weave  and  imitation 
gauze  for  forming  figures  can  also  be  applied  to  ornamental  or  floral  designs. 


I 


Combination  of  Weaves  for  Fabrics  Constructed  v/ith  One 
System  of  Warp  and  Two  Systems  of  Filling. 

The  object  in  designing  these  weaves  is  twofold — either  to  produce  additional  bulk  to  a  purely 
single-cloth  fabric,  or  to  produce  figuring  otherwise  impossible  to  be  obtained  on  purely  single 
cloth. 

Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp,  for  increasing  the  Bulk. 

As  seen  by  the  above  heading,  two  systems  (or  kinds)  of  filling  are  essential  to  the  con- 
struction of  these  fabrics.  One  filling  (the  face  filling)  forms  with  one  system  of  the  warp  the 
face  of  the  fabric,  while  the  other  filling  (the  backing)  forms,  by  an  additional  interlacing  in  the 
warp  before  mentioned,  the  back  of  the  fabric.  The  latter  filling  is  solely  applied  to  the  single 
cloth,  as  mentioned,  for  the  purpose  of  increasing  the  thickness,  and  might  properly  be  considered 
only  as  a  lining.  To  increase  the  thickness  of  a  fabric  in  this  manner  is  of  great  advantage  to 
the  manufacturer,  and  is  thus  used  very  extensively  in  the  manufacture  of  "heavy-weight" 
woolens,  etc.  The  weave  employed  for  the  face  of  the  fabric  (interlacing  the  warp  and  the  face 
filling)  is  generally  of  a  more  artistic  construction  than  the  weave  used  for  interlacing  the  backing 
into  the  above-mentioned  fabric. 

It  will  readily  appear  that  the  warp-thread  *  in  these  fabrics  must  resist  to  a  certain  extent 
more  strain  than  the  filling,  and  for  this  reason  should  be  composed  of  a  better  stock,  in  addition 
to  a  harder  twist.  The  backing  must  contain  only  a  small  amount  of  twist,  so  that  the  bulk  of 
the  thread  (without  considering  its  additional  heavier  size)  will  always  be  larger  than  the  harder- 
twisted  face-filling  or  the  warp.  The  "soft"  twist  in  the  backing  will  also  produce  a  soft  hand- 
ling fabric.  Among  the  materials  for  producing  a  proper  backing,  which  may  be  used  with 
advantage  in  addition  to  wool,  are  the  cheaper  articles,  such  as  shoddy,  mungo,  card-waste,  roving- 
Avaste,  etc. 

In  constructing  the  weaves,  we  must  first  deal  with  the  face-weave  (interlacing  warp  and  face 
filling),  and  this  in  a  manner  independent  of  any  additional  backing ;  as  it  applies  to  any 
weave  for  single  cloth. 

The  backing  must  only  form  an  addition,  separately  introduced  into  the  face  fabric  and  for 
purpose  originally  intended,  unless  a  special  effect,  such  as  "  tricot,"  etc.,  is  required. 

The  most  frequently  used  proportions  for  backing  to  face  filling  are  :  One  pick  face  to  alter- 
nate with  one  pick  back  and  two  picks  face  to  alternate  with  one  pick  back.  Seldom  do  we  find  3 
picks  face  to  alternate  with  1  pick  back  ;  or  irregularly,  as  2  picks  face,  1  pick  back,  1  pick  face, 
I  pick  back,  5  picks  in  repeat,  etc.,  etc. 

In  using  the  arrangement  "one  face  pick  to  alternate  with  one  backing"  be  careful  to  use  a 
size  of  the  latter  not  much  heavier  (if  any  at  all)  than  the  former.  If  using  a  backing  of  a  too 
heavy  size,  it  will  influence  the  closeness  of  the  face  filling  and  produce  an  "  open  face  "  appear- 
ance in  the  fabric. 

As  mentioned  before,  the  backing  should  be  of  no  consideration  in  the  construction  of  the 
single  cloth,  and  this  with  respect  to  its  weave  as  well  as  to  its  texture,  i.  c,  the  same  number  of 
picks  required  in  a  single-cloth  fabric  must  be  retained  for  face  picks  if  a  fabric  containing  face 
and  back  filling  is  constructed.  Thus,  for  example :  A  fabric  on  the  single-cloth  system  requiring 
44  picks  per  inch  will  require,  if  arranged  in  its  filling  "  1  pick  face  to  alternate  with  1  pick  back," 
88  picks  per  inch.  Again,  if  2  picks  face  are  to  alternate  with  I  pick  back,  use  66  picks  per 
inch,  etc.,  etc. 

(105) 


106 


In  both  examples  given,  we  suppose  the  size  (i.  e.,  thickness)  of  the  warp  and  face  filling  to 
remain  undisturbed. 

Rules  to  be  Observed  in  Designing  these  Weaves. 

The  weave  for  the  back  filling  must  be  selected  without  disturbing  the  face.  The  back 
filling  in  its  method  of  interlacing  must  pass  readily  underneath  the  face  pick  previously  inter- 
woven; also,  allow  the  next  succeeding  face  pick  to  cover  any  part  not  covered  by  the  previously 
interwoven  face  pick. 

To  produce  this  result  the  warp-threads  used  for  binding  the  back  filling  must  be  in  the 
lower  shed,  in  the  face  pick  preceding  the  backing  as  well  as  the  one  following  it. 

Another  point,  which  properly  comes  under  the  present  rules,  but  which  has  been  treated  to 
a  certain  extent  before,  is,  to  arrange  regular  transpositions  of  face  and  back  picks. 

If  the  face-weave  contains  a  far-floating  filling,  the  binding  of  the  backing  into  the  warp- 
threads  should  be  arranged  as  nearly  as  possible  in  the  centre  of  this  float. 

To  produce  good  work,  and  perfect  cloth,  every  warp-thread  should  be  used  in  rotation 
according  to  the  weave  for  binding  the  back;  because,  if  some  warp-threads  should  be  omitted, 
they  will  get  less  tension  through  weaving,  and  give  trouble.  A  bad  shed  will  result,  etc.,  with  a 
possibility  of  spoiling  the  fabric.  If  we  should  be  obliged  to  omit  some  of  the  warp-threads 
from  the  binding  in  the  back,  we  must  be  careful  to  arrange  those  used  in  a  regular  and  well- 
distributed  manner. 

Among  points  worth  considering  in  the  manufacture  of  the  present  kind  of  fabrics  we  note: 
If  the  weave  (or  system)  for  interlacing  the  backing  to  the  warp  is  of  a  short  repeat,  that  is,  no 
large  floats  of  the  backing,  we  must  use  a  soft-twisted  back  filling.  Should  we  use  a  very  hard- 
twisted  yarn,  the  possibilities  are  that  the  backing  will  "show  through"  on  the  face. 

To  use  a  backing  with  the  least  possible  twist  (yet  sufficiently  so  to  avoid  "tender"  goods) 
will  also  be  of  advantage  during  the  finishing  process,  as  most  fabrics  to  which  the  present  sys- 
tem of  weaves  applies  require  a  soft  well-covered  back. 

16HQDH0HB0 
■     ■■  ■ 

□    aaa aaa 

i  aaaaaaa 
[  ■■ 

aaaaaaa  J 
aaaaaana 

M 

aaaaa  a a 
:    ■■  :  ;■■ 

aaaa  aaa 

aaa  aaaa 


-aa  aaa  :a 
■  ■ 

a  aaa  aa 
■    .  ■  : 

aaa  aaa 

■         ■  : 

aaanaaa  ] 
Fig.  554- 


Fig.  555. 


Fig.  556. 


Care  must  also  be  exercised  in  selecting  the  material  for  the  backing  with  due  consideration 
of  the  proportional  amount  of  binding. 

The  heavier  in  size  the  backing  is,  the  earlier  will  imperfections  appear. 

We  will  next  consider  a  few  of  the  most  frequently  used  combinations  of  weaves  for  these 
fabrics. 

Let  us  first  consider  the  weave  Fig.  554.  The  arrangement  to  be  observed  in  combining 
face  and  back  filling  is  to  take  one  of  each  system  alternately.    For  the  face-weave  (picks,  1,  3, 

5,  7)  select  the  4-harness  -3  twill  (see  ■  type).    The  interlacing  of  the  back  filling  arrange  with 

the  T  4-harness  twill  (see  q  type).    Repeat  of  complete  weave:  4  warp-threads  and  8  picks. 

For  a  proper  understanding  of  the  present  weaves,  two  different  characters  of  type  are  used, 
one  for  indicating  the  face  filling  (■)  and  one  for  indicating  the  backing  (a). 

Diagram  Fig.  555  illustrates  the  section  cut  of  a  fabric  interlaced  on  weave  Fig.  554. 

Weave  Fig.  556  shows  the  4-harness  even-sided  twill  arranged  for  "backing  cloth."  For 
the  intersecting  of  the  backing  the  8-harness  7-  i  twill  is  used.  Thus  one  repeat  of  the  inter- 
lacing of  the  backing  equals  two  complete  repeats  of  the  face-weave. 


107 


Fig.  557  illustrates  the  section  of  a  fabric  interlaced  with  weave  Fig.  556.     The  back 

stitches  onto  the  regular  8-harness  7-  s  twill,  as  mentioned  before,  and,  in  consequence,  runs  its 

points  of  interlacing  to  the  face  in  one  twill  line  of  the  latter,  leaving  the  second  undisturbed. 
This,  in  turn,  shows  every  alternate  twill  line  on  the  face  of  the  fabric  (into  which  the  backing 
binds)  more  prominently  than  the  other.  To  prevent  this,  it  is  advisable  to  use  the  weave  shown 
in  Fig.  558,  being  the  same  face  as  previously  used,  except  having  the  8-harness  satin  applied  for 
interlacing  the  backing. 

ieaaaaaa~:a 
■    ■■  ■ 
a  aaaaaa 
■■  ■■ 

aaaa  aaa 
□■■'ii  ■■ 

k  v'  aaa  aaaa 

Fig.  557-  Fig.  558. 

The  latter  weave  combines  face  and  back  by  alternately  exchanging  the  points  of  interlacing 
from  one  twill  line  of  the  face  to  the  other;  thus  in  one  repeat  of  the  complete  weave  it  has  four 
points  of  interlacing  in  each  twill  line  of  the  face.  This  method  of  arranging  a  weave  produces 
a  smooth  face,  one  twill  line  showing  as  prominently  as  the  other  over  the  entire  surface  of  the  fabric. 

Fig.  559.    Repeat:    12  warp-threads  and  24  picks.     Face-weave:  ?  -3  6-harness  twill. 

Weave  for  interlacing  the  backing:  12-harness  satin.  This  weave,  like  weave  Fig.  558,  produces 
a  smooth  face. 

An  illustration  of  a  fancy  twill,  arranged  for  backing,  is  given  in  weaves  Figs.  560  and  561. 

Fig.  560  represents  the  face-weave.    Repeat:  16  warp-threads  and  16  picks. 

Fig.  561  illustrates  this  face-weave  arranged  for  a  backing  cloth,  one  pick  face  to  alternate  with 
one  pick  back.  Repeat:  16  warp-threads  and  32  picks.  The  weave  used  for  interlacing  the  backing 
to  the  face-fabric  is  the  - — t  10  ;  1 6-harness  twill. 

s-aaa^aaaaaaaaaa^a  s -a  aaa  aaa  aaaaaa 

■■     ■■■■■■     b  mm     mm     mm  mm 

aa  aaaaaaaaaa  aa  aaaa  aaa  aaaa  aa 

■    ■    ■■■  ■  ■  ■■ 

aaaa  aaa  aaa  aaa  aaaaaa  a 

■  ■■  :■■  ■  , :  mmo  mm    mu    urn  mm 

iaaa  aaaa  aaaaaa  aaaa  aaa  : 

■  ■■■■■■■■ 

24aaaaaaaaa~aa                                                  aaaaaaaaaa  aaaaz  aaaa  aaaaaa  aaa 

■■■      ■                                                    ■  mm  mm  m    mmm  n  ■■■■■■  ■■ 

aa  ..aaaaaaaaa                                                  aaaaaaaaa  aaaa  a  a  aaaaaaa  aaa  aa 

■■■  '  ■    ■■■    ■  ■■■■■■■■ 

aaaaaaa :aaaa                                                    aaaaaaaa  aaaa  aa  aa  aaaaaaa  aaa  a 

/     ■■■   dzbbb                                                    ■■  ■■  ■    ■■■    ■  ;  ■■    ■■    ■■  ■■ 

raaaaaaaaaaa                                                    aaaaaaa  aaaa  aaa  aaa  aaaaaaa  aaa  ; 

ogbbbgg\:bbbg                                                  ■■■  .  ■  1  mmm    m  ■■■■■■■■ 

aaaaaGaaaaaa          i6bbgcbgbbgbbgbggb            aaaaaa  aaaa  aaaa  10  -hbbg-bbg-bb  — ■■            aaa  aaaaaaa  aaa 

■    ■  .  ■■■  .  ■    mu              mm  a  j  ■■■    ■  ■■  ■■■■■■■■               ■■    ■■    mm  mm 

aaaaaaBHQQDH           ggbjbb  ■■  Bjjbbb            aaaaa  aaaa  aaaaa  ■■    ■■    ■■    mm  ;  1           a  aaaaaa  aaaa  aa 

■■■  _  ■■■     □              ■    ■■■    ■    ■■■              ■    a    mmm    m    mm  mm  m    mm  i  .  n  i           b    ■  ■■  .  fl  ■■  ■ 

aaa  aaaaaaaa           bcbbgbbgbggbbbgg            aaaa  aaaa  aaaaaa  l;_,bb    ■■    ■■    ■■           aa  aaaa  aaaaaa  a 

■  ■  ■  CLBBB      ■      ■■■    LB  ■   ■     111      I   ■■   B  ■      ■■   B   B  ;    ■■      ■  ■■      ■■      ■■      ■■  J 

aaaaaaaa  aaa  bbqbbqbqgbbbgqbg  aaa  aaaa  aaaaaaa  bb    :bb    ■■    ■■  .  aaaaaa  aaa  aaaa 

bgggbbbooobb  ■■■□aiDOiiiaaio:]  ■    ■■■    ■    ■■■  .  ■■■■■■■■  ■  ■■  ■■ 

a:. aaaaaaaaaa  ■■  ■    ■■■    ■  mm  aazaaaa  aaaaaaaa  ■■    ■■    ■■    ■■  aaaa  aaa  aaaaaa 

G_    ■■■        HBB  ■      ■      III      I      ■■  B      ■■■      ■   BB  BB  1  BGUBGBBG   I  IB      ■■    -  ■■  >  BB 

aaaaaa ;aaaaa  bgbggbbbggbgbbgb  araaaa  aaaaaaaaa  ■■    ■■    ■■    ■■  aaaa  aaa  aaa  aaa 

■  ■■  .  :   ■■■  GBGGBBBGGBGGBBBG  III  :   I  JGBBBGCB  GBGBB  .    II  ;  BJBBG  <  Bl     II     ■■      m  m 

aaaaaaaaaaa □  bggbmjgboih^bbg  uaaaa  aaaaaaaaaa  c  aa .;  aa    bb.jjbb  aaa  aaa  aaa  aaaa 

□BBB._Z'"  jBBIUG  GGBBB      ■      BBBGGB  Clll  II  II  .BB   Bl  Bl      BB      II  I  I  »  ■■      ■■  ■■-.■■.] 

aaaa  aaaaaaa  gbbb j. ibgbb _bbgbg  aaaa  aaa:.  ii    ■■    n    bb  aa  aaa  aaa  aaaaa 

1BBBGGZBBBGGG  1BBBJGBGGBBBGGBGG  1BBB J JB J JBBB JGBGG  1BGGBBGGBBGGBBGBG  ■     ■■  ■■■-■J 

1  12  1  16  1  16  1  10  1  18 

Fig.  559.  Fig.  560.  Fig.  561.  Fig.  562.  Fig.  563. 

Fig.  562  illustrates  an  entwining  twill.  Repeat:  16  warp-threads  and  16  picks.  This  tvvill 
is  illustrated  as  applied  for  backing  in  weave  Fig.  563,  one  pick  face  to  alternate  with  one  pick  back. 

In  applying  backing  to  similar  "entwining-twills,"  as  also  to  "broken-twills,"  be  careful  to 
arrange  the  same  so  as  to  have  the  points  of  interlacing  follow  the  twill  lines  in  the  face-weave 
running  in  the  direction  from  left  to  right,  as  well  as  from  right  to  left. 

Granite-weaves  constructed  from  the  satins  are  well  adapted  for  the  application  of  a  backing. 
In  this  case  the  satin  which  was  used  in  the  construction  of  the  face  will  be  the  weave  required 
for  the  backing. 

For  example,  see  weaves  Figs.  564  and  565. 


108 


Fig.  564  illustrates  a  common  granite-weave,  which  is  shown  with  a  backing  applied  in  Fig.  565. 
Weave  Fig.  564  (single  weave).    Repeat:  8  warp-threads  and  8  picks. 

Fig.  565,  the  previous  weave  with  a  backing  applied.    Repeat:  8  warp-threads  and  16  picks. 
Fig.  566.    Diagram  of  the  section  cut  of  a  fabric  interlaced  on  weave  Fig.  565.    a  =  face 
filling;  b,  backing. 


16QHHHHHHD 
■  ■  ■■ 
BBBB  BBB 
■    ■■    .  ■ 

b  bbbbbb 

BBBBBB  B 
!  ■■  ■■  J 
BBBl.BBBB 
I  ■■■  ■■ 

■      ■■  ■  gbbbbbbb 

!  ■■   ■■  ■■  ■■ 

BEBBB  BB 
■■  MM 


8 

Fig.  564.  F.g.  565.  Fig.  566. 

In  fabrics  in  which  the  arrangement  of  one  face  pick  to  alternate  with  a  backing  will  pro- 
duce too  heavy  a  cloth — in  fabrics  in  which  the  arrangement  of  combining  the  backing  to  the 
face-weave  cannot  be  properly  effected,  and  in  fabrics  in  which  it  is  desired  to  have  used  a  much, 
heavier  size  of  yarn  for  the  backing  than  is  used  for  the  face  filling,  the  arrangement  just  given, 
cannot  be  followed.    It  must  be  changed  to  2  picks  face  and  1  pick  back. 

This  proportion  of  face  and  back  is  very  extensively  used  in  the  manufacture  of  woolen  fabrics. 

Producing  the  backing  of  a  heavier  size  will  (taken  in  the  average)  allow  of  a  cheaper  mate- 
rial (waste)  being  used.  It  also  tends  to  a  greater  production  of  cloth  by  using  less  picks  per 
inch;  a  larger  quantity  of  roving  per  set  of  cards  in  a  given  time,  more  pounds  of  yarn  per 
spindle,  etc.,  etc.  Another  point  much  in  favor  of  the  present  designated  proportion  of  face  and 
back  filling  is  the  advantage  of  getting  a  full  face  with  less  picks  per  inch  than  by  using  the 
proportion  of  one  pick  face  to  alternate  with  one  pick  back. 

Weave  Fig.  567  illustrates  the  combination  of  the  3  6-harness  twill  with  the  j  twill,. 

but  using  only  every  other  warp-thread.    Repeat:  12  warp-threads  and  18  picks. 

If  the  proportion  of  one  face  pick  to  one  back  pick  produces  a  cloth  too  heavy,  and  the 
two  face  picks  to  alternate  with  one  back  pick  produces  a  cloth  too  light,  or  should  the  size  of  the 
backing  yarn  be  too  heavy  for  one  face  and  one  back,  or  too  fine  for  two  face  18gggB§gggnnD» 
and  one  back,  we  must  use  the  average  of  both ;  thus —  □□□■■■□□□■■» 

9  nirlrc:  fare  ebbbbbbbbbb 
T  nirk-  hark  bbbbbbbbb  bb 

T  mrk  fare  bbbbbbb  bbbb 

...  i     ■■■  BDI 

T  nirk  nark  bbbbb  bbbbbb 

_ 

5  picks  in  repeat.  Fig.  567. 

Should  a  fabric  require  a  proportional  arrangement,  of  less  weight  than  that  produced  by 
2  face  I  back,  use  3  picks  face  to  alternate  with  1  pick  back,  etc.,  etc. 

Combining  Two  Systems  of  Filling  with  One  Kind  of  Warp  for  Figuring  with  Extra 

Filling  upon  the  Face  of  the  Fabric. 

In  these  weaves  the  extra  filling  is  brought  at  certain  intervals  upon  the  face  of  the  fabric  for 
forming  additional  fancy  effects.    In  woolen  and  worsted  fabrics,  for  men's  wear,  these  effects  are 
generally  limited  to  stripes  and  checks,  whereas  if  used  for  dress  goods  they  are 
alfS      often  of  a  very  elaborate  design. 
15lllffllnnan  Weave  Fig.  568  represents  a  stripe  effect,  produced  by  an  extra  filling  (back 

iQQDDBamBHDD      filling)  introduced  after  four  successive  ground  (face)  picks,  a  face  picks  (ground), 
Fig.  568.         ■  figure  picks  (back).    The  weave  employed  for  the  ground  fabric  is  the  common 
4-harness  twill  ?  g.    Repeat:  12  warp-threads  and  5  picks,    a  and  ■  for  raisers,  □  for  sinkers. 


B     jBB      BB  i  B 
BB      BB  BB 
BB 

BB :  j  :.BBCDGBnn 
'<■■■■■  ::■■■■ 


109 


4f«a  a  a  a  ;a  a  a  a  a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  a  a  a  a  a  a  a  a  a 


a 


a  a  a  0 


a  a 


a  a  a  a  a  a  a  a  a  a  a 

a  a  a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  a  a  a  a 
i  a  a  a  a  a  a  a  a  a  a 
a  a  .a  a  a  a  a  ,a  a  a  a 


a  e 


a  a  a  a  a  a  a 
■■■■■■■■■■■■  ■ 

a  ia  a  .;a  a  a  a  a 
■■■•■&■■■■«  o 

a  a  a  a  a  a  a  a  a  a 

"a"""a"a"a"a"a"a"  J 

aua  ;a  a  a  ia 
a 


a  a 
a  a 

a  a 
a  a 

a  a 
ar  a r^ 

a"a" 

a  a 


■  i 

a  a  a  a  a 
■■■■■■■  ■ 

a  a  ia  a  , 


a  a  a  nana 

a  a  a  a  a 
a  a  a  a  a 

a  a  a  a  a 
a  a  a  a  a 

a  a  a  a  a 
a  a  a  a  a 

■  ■■■■■■ 
.a  iaja  ia  ia 


a  a  ia 
■  nam 

_,a_ja  ] 
mil 
a  ia  ia 
■■■■■ 

jaja.J 


,a  a 


Design  Fig.  569  illustrates  the  figuring  with  an  extra  filling  for  forming  a  small  spot  figure. 

This  extra  filling  is  similar  (except  the  floating,  which  is  more 
extended)  to  the  previously  illustrated  example  of  floating  on 
the  back  of  the  fabric  and  is  interlaced  with  the  face  fabric  in  a 
manner  to  produce  the  desired  effect;  in  the  present  instance 
producing  small  spots.  This  extra  filling,  floating  to  a  great 
extent  on  the  back  of  the  fabric,  is  generally  removed  by  cutting 
off  those  floats  around  the  place  where  they  interlace  with  the 
face  fabric. 

Another  style  of  fabric  which  is  constructed  on  this  system 
of  weaves  are  union  fabrics,  comprising  certain  kinds  of  shawls, 
Chinchilla  and  Ratine  overcoatings,  etc. 
iSBiilS  ^n  weaves  f°r  this  description  of  fabrics  the  interlacing  of 

^■^■■■■■■■■■■■■■■■■■■■b  the  face  filling  with  the  warp  is  the  same  as  the  one  used  for 
^■□■■■mimlZiiid""!    interlacing  the  backing.    The  warp,  which  is  in  most  cases  of 

cotton,  rests  imbedded  between  the  two  kinds  of  filling. 

Fig.  570  illustrates  the  combination  of  the  5 -harness  satin 
filling  up  for  face  and  the  5-harness  satin  warp  up  for  back; 
thus  the  same  weave  will  form  the  face  and  back.    Repeat:  5-harness  and  10  picks. 

Fig.  571  represents  a  like  combination  of  the  8-harness  satin  filling  up  for  face,  warp  up  for 
back.    Repeat:  8-harness  and  16  picks. 


ia  a  ia  a  a 
u.  ju  -a  ,a  a  a  a  a  a 

a  a  a  a  a  a  a  'a  a 
a  a  a  a  a  a  a  ia  a  i 
a  a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  a  a 

a  a  a  a  a  ,a  a  a  a 
a  a  a  a  a  a  a  a  a 

a  a  a  a  a  a  a  a  a 
a  a  a  a  a  a  a  a  a 


iDBGaGaDaLJBGBaaGBGBjaasjaaajaaaaa 
Fig.  569. 


loaGBBO 
BBBBD 
EBL  IBB 
□BBBB 

□□■□n 

aaa  a 

16BBBGBEBB 
■  ■ 

l  aaaaaaa 
aaaaa:  a  a 
aa  aaaaa 

BBBBBBBlI 
[  ■ 

aaaa  aaa 

a  a aaaaa 
□□□■□□□a 
aaaaaa  .a 

1  aaaa  aaaa  i 
■       ■  1 
■       ■  1 
aaaa  aaaa 
c      ■  ■ 

■  ■ 

a  aaaa  aaa 
■  ■ 

[  '.:   ■  m       '      ■  ] 

a a  aaaa  a a 

1  ■  Ml 
■  ■ 

aaa  aaaa  a 

■  ■ 

^□□□□■□□□Jjj 

Fig.  57c. 

Fig.  571. 

Fig.  572. 

Fig.  572  illustrates  the  5-harness  satin  filling  up  for  face  and  the  same  weave,  warp  up,  for 
back.  Arrangement  for  exchanging  face  and  back  filling  is  2  picks  face,  1  pick  back.  Repeat: 
5  warp-threads  and  15  picks. 

Swivel- Weaving. 


For  fabrics  in  which  the  figures  are  produced  with  an  extra  filling  and  these  figures,  as  seen 
on  the  face,  are  far  apart,  as  in  figured  dress  goods,  ribbons,  etc.,  these  figures  are  produced 
upon  the  ground  structure  of  the  fabric  by  using  a  loom  having  a  "swivel  lay"  attached. 

The  object  of  "swivel-weaving"  is  to  save  material  in  fabrics  having  small  figures  for  the 
design,  and  to  give  to  such  figures  a  more  prominent  appearance  in  the  fabric  than  can  be  pro- 
duced by  the  common  method  of  weaving  by  floating  the  filling  on  the  back  when  not  required 
for  figuring  on  the  face.    There  is  a  further 

advantage  in  the  designing,  for  no  disturb-     r  /  [^.,.,.^,.,^ 

ance  of  the  design  is  necessary.  —  /  ~V—  ~  ~ ^  ^^1— =ffl-   X 

Again,  in  cases  where,  in  the  ordinary 

process  of  weaving,  the  figure-filling  would 

show  through  on  the  face,  and  thus  must 

be  cut  off,  this  method  of  weaving  omits 

&  Fig.  573. 

the  cutting  away  of  the  loose  filling  on  the 

back;  and  in  this  case  th*  swivel  arrangement  contributes  to  the  strength  of  the  fabric. 


110 


Fig.  573  is  an  illustration  of  a  swivel  fitted  in  a  movable  Irame  to  be  attached  to  the  regular 
batten  of  a  loom. 

The  method  of  weaving  fabrics  figured  by  the  swivel  arrangement  is  as  follows :  After  the 
common  shuttle  carrying  the  ground  filling 
is  interwoven,  a  separate  shed  of  the  warp  is 


Fig.  574. 


opened  for  the  introduction  of  the  swivel 
shuttles  (instead  of  passing  a  common  shuttle 
all  the  way  across  the  loom)  carrying  the  fill- 
ing which  has  to  form  the  figures  on  the  fabric 
at  intervals  of  two  or  more  inches.  Each 
figure  in  the  fabric  is  formed  by  its  own  shuttle 
(filling);  hence  it  is  apparent  that  by  the  swivel 
arrangement  we  can  have  different  colors  in 
the  same  shed  across  the  fabric.  In  using  a 
fly-shuttle  in  common  weaving  the  filling  from 
the  latter  has  to  be  used  in  every  figure,  whereas  by  the  swivel  method  every  figure  may  have 
its  own  color. 

The  swivel  is  used  to  the  best  advantage  in  the  production  of  small  spot  figures. 
In  Figs.  574  and  575  such  effects  are  shown. 

As  the  shuttles  of  the  "  swivel  "  are  all  of  a  given  size,  and  are  arranged  in  certain  distances, 
they  require  the  design  to  be  arranged  accordingly.  By  examining  Figs.  574  and  575  we  find 
the  distances  between  the  figures  to  outmeasure  completely  the  spaces  occupied  by  the  figures 
themselves,  which  point  it  is  necessary  as  a  standard  ride  to  keep  steadily  under  consideration  in  de- 
signing. One  and  three-quarter  inches  is  about  the  smallest  width  of  the  shuttle,  thus  two  inches 
is  the  smallest  distance  possible  to  be  used  by  a  shuttle  of  such  a  size ;  but  generally  a  wider 


© 

© 

© 

© 

© 

© 

© 

© 

© 

© 

© 

© 

Fig.  576. 


Fig.  575. 


distance  between  the  figures  is  allowed  so  as  to  get  a  more  perfect  fabric.  The  general  rule  to 
be  observed  in  designing  for  these  fabrics  is  to  have  the  distance  between  the  figures  about  thrice 
as  wide  as  the  space  occupied  by  the  figure  itself. 

In  these  designs  the  ground  filling  forms  the  general  design  for  a  ground  or  all-over  effect, 


Ill 


while  the  filling  introduced  by  the  swivel  shuttles  only  contributes  to  the  coloring  up  of  par- 
ticular effects. 

Circular  swivels  are  used  for  fabrics  where  very  close-set  figures  are  required.  These  swivels 
are  specially  constructed  for  these  effects. 

Combination  of  the  Swivel  Effect  with  Figuring  through  the  Warp. 

In  some  fabrics  (but  only  where  the  most  exquisite  designs,  richness  and  fineness  of  material 
are  employed)  this  method  is  applied,  hence  we  have  to  use  the  following  four  distinct  systems  of 
threads  in  producing  the  fabric  : 

1st.  One  kind  of  warp  to  form  a  general  ground  fabric  with 

2d.  The  regular  ground  filling ; 

3d.  One  kind  of  warp  to  produce,  on  the  two  systems  mentioned,  the  foundation  parts  of  a 
design,  into  which  the  filling  from  the 

4th,  swivel  shuttles  forms  the  figure  spots. 

Fig.  576  is  executed  on  this  method.  In  this  we  find  the  white  grounds  for  systems  1  and  2. 
The  stems,  leaves  and  buds,  only  outlined  in  design  for  system  3,  whereas  the  two  shaded 
flowers  have  to  be  produced  through  system  4,  or  the  swivel  shuttle.    Design  Fig.  576,  illustrat- 


Fig.  577. 


ing  only  one  effect,  has  to  be  arranged  for  practical  use  according  to  the  fabric  for  which  it  is 
required. 

Another  combination  of  the  swivel  arrangement  with  figures  produced  with  the  common 
shuttle,  but  of  a  yet  more  complicated  nature,  is  procured  by  combining  systems  of  threads  as 


follows : 

1st 

system : 

ground  warp. 

2d 

(< 

ground  filling  (common  shuttle). 

3d 

it 

figure  warp. 

4th 

{* 

figure  filling  (common  shuttle). 

5th 

ti 

the  filling  from  the  swivel  shuttle. 

Swivel  Loom. 

The  foregoing  explanation  of  the  theory  of  swivel  weaving  requires  in  practice  a  loom  which 
must  be  capable  of  two  different  movements — namely,  the  plain  or  fly-shuttle  movement,  and  the 
swivel  and  plain  weaving  movements  combined — to  produce  the  figure  or  pattern  in  the  body  of 
the  fabric  while  the  latter  is  being  woven. 

For  illustrating  the  method  of  operation  in  such  a  loom  diagrams  Figs.  577  to  580,  represent- 
ing the  J.  Wadsworth  swivel  loom,  are  given,  similar  letters  referring  to  like  parts  in  each  figure. 


112 

The  before-mentioned  two  movements  are  carried  on  in  the  following  manner:  First,  the 
loom  having  been  adjusted  for  plain  weaving,  the  cam-shaft  C  is  in  the  position  shown  in  Fig. 
577,  which  illustrates  a  view  of  part  of  the  loom,  partly  broken  out,  looking  down  upon  the  same. 
As  the  cam-shaft  revolves  the  roller  projections  z3  at  the  right-hand  end  of  said  shaft,  and  the 
similar  projections,  z'  z2,  at  the  other  end  of  the  cam-shaft,  alternately  depress  the  treadles  /  /, 
which  in  turn  operate  the  picker-sticks  s  s,  to  throw  the  fly  or  body  shuttle  back  and  forth  across 
the  loom,  as  in  ordinary  weaving.    The  rollers  zf ,  z2,  z3  and  zi  must  be  so  placed  in  relation  to 


Fig.  578. 


each  other  that  they  will  act  alternately,  first  operating  the  picker-stick  at  one  side  of  the  loom 
and  then  the  picker-stick  at  the  other  side  of  the  loom,  and  so  on.  The  fly-shuttle  is  thereby 
caused  to  pass  across  the  loom  four  times  during  one  revolution  of  the  shaft  C.  This  is  the 
plain-weaving  motion  of  the  loom  producing  the  body  of  the  fabric,  and  is  the  first  motion  referred 
to  above.  The  next  operation  is  the  introduction  of  the  swivel-shuttles  for  the  purpose  of  weav- 
ing figures  or  patterns.  This  is  accomplished  by  shifting  the  shaft  C  with  its  attached  cams  and 
rollers  along  the  line  of  its  horizontal  axis  from  right  to  left,  so  that  it  will  occupy  the  position 
shown  in  Fig.  578.  The  harness  and  other  portions  of  the  loom  not  essential  to  a  full  under- 
standing by  the  student  are  omitted  from  the  drawings.  By  the  shifting  of  the  cam-shaft  a  new 
set  of  cams  and  levers  is  brought  into  action,  and  the  operation  of  certain  of  the  devices  which 
were  in  action  before  the  shifting  of  the  shaft  is  arrested,  while  a  portion  of  the  devices  which 
were  in  action  before  the  shifting  of  the  shaft  remains  in  action  after  the  shaft  has  been  shifted. 


Fig.  579. 

The  new  cams  and  levers  thus  brought  into  play,  acting  in  connection  with  the  devices  which 
remain  in  operation  after  the  shifting  of  the  shaft,  as  stated,  give  the  second  movement 
previously  mentioned — namely,  the  combined  plain  and  swivel  movement. 

In  diagram  Fig.  579  the  front  view  of  the  loom  is  illustrated,  in  which  a  portion  of  the  plate 
at  the  left-hand  end  of  the  loom  is  cut  away  to  enable  the  rollers  z'  z2  the  more  readily  to  skip 
or  miss  the  treadle.  In  place  of  the  shots  of  the  fly-shuttle,  the  swivel-shuttles  are  called  into 
action  by  means  of  the  second  change  effected  by  the  shifting  of  the  cam-shaft — namely,  that  by 
which  the  arms  b  by  with  their  attached  rollers  d  d> ',  are  caused  to  operate  the  treadles  a  a  and  to 


113 


give  to  the  rack  £,  containing  the  swivel-shuttles  D  D  D  the  necessary  downward  motion,  and 
by  which  at  the  same  time  the  cam /,  through  its  connections  K  L  J,  is  caused  to  drive  the  swivel- 
shuttles  horizontally  to  weave  the  desired  figure  or  pattern.  The  action  of  the  fly-shuttle  must 
alternate  with  that  of  the  swivel-shuttle.  The  operation  then  is  as  follows,  reference  being  had 
to  Figs.  578  and  579.  As  the  cam-shaft  C  revolves  the  roller  z*  depresses  the  treadle  to  operate 
the  picker-stick,  thus  throwing  the  fly-shuttle  from  right  to  left.  During  the  next  quarter-turn 
of  the  shaft  the  roller  z'  would  operate  the  picker-stick  at  the  left  side  of  the  loom  to  return  the 
fly-shuttle  were  it  not  that  by  the  shifting  of  the  cam-shaft  this  roller  is  thrown  out  of  gear.  In 
its  stead,  the  rollers  d  d,  attached  to  the  arms  b  b,  are  brought  into  contact  with  the  treadles  a  ay 
and,  depressing  the  same,  pull  downward  the  rods  i  i  (against  springs  jxJx,  arranged  around  the 
same),  and  the  attached  rack  E,  containing  the  swivel-shuttles  V  V  V,  is  thus  brought  into  posi- 
tion for  the  working  of  the  swivel-shuttles  with  the  warp.  Almost  simultaneously  with  this 
downward  movement  the  swivel-shuttles  are  driven  longitudinally  from  right  to  left  by  means  of 
the  cam /,  acting  in  connection  with  the  levers  A" and  Z,  rod  J,  and  the  rack-and-pinion  mechanism. 
By  referring  to  Figs.  579  and  580  it  will  be  seen  that  on  the  outer  edge  of  the  wheel  /,  and 
extending  half-way  around  the  circumference  of  the  disk,  is  a  collar,  e,  having  its  ends  beveled. 
As  the  shaft  C  revolves,  carrying  with  it  the  cam  /,  the  roller  g,  which  is  attached  to  the  lever  Ky 
coming  into  contact  with  the  collar  e,  is  thrown  outward,  carrying  with  it  the  lever  K,  which  in 
turn  operates  the  vertical  lever  Z,  moving  on  the  pivot  11.  To  the  free  end  of  the  lever  L  is 
attached  the  rod  J.    Rod  /is  connected  with  rack-bar  V2}  see  Fig.  573,  which  rack-bar  is  sup- 


Fig.  580. 


ported  in  the  rack  E,  and  is  in  engagement  with  pinions  V ',  which  in  turn  engage  teeth  V3  upon 
the  swivel-shuttles  V  V  V.  As  the  lever  K  is  thrown  from  right  to  left,  the  swivel-shuttles  are 
driven  in  the  same  direction.  This  longitudinal  motion  occurs  almost  simultaneously  with  the 
up-and-down  movement  mentioned  before.  The  roller  is  kept  in  close  contact  with  the  cam/ 
by  means  of  the  spring/,  and  is  prevented  from  being  operated  by  the  cam  when  the  cam-shaft 
has  been  shifted  for  plain  weaving  by  the  stop  k.  (Shown  in  Figs.  578  and  580.)  By  the  time 
this  double  motion  has  been  accomplished  the  shaft  has  made  another  quarter-turn,  the  rollers 
d  d  have  released  the  treadles  a  a,  and  the  springs  around  the  rods  i  i  throw  upward  the  rack  E 
and  the  shuttles  V  V,to  remove  the  same  from  the  working  level  and  allow  the  fly-shuttle  to  pass 
without  interference.  The  cam-shaft  having  now  entered  upon  the  third  quarter  of  its  revolution, 
the  roller  z  depresses  the  treadle  t  on  the  left-hand  side,  thereby  operating  the  picker-stick  s  to 
throw  the  fly-shuttle  back  again  across  the  loom  from  left  to  right,  the  roller  z3  at  the  other  end 
of  the  shaft  at  the  same  time  passing  inside  the  corresponding  treadle  /  without  operating  it. 
The  cam-shaft  now  begins  the  last  quarter  of  its  revolution.  The  roller  z2  misses  the  treadle  /  on 
the  left-hand  side,  as  before  explained.  The  rollers  dr  d'  depress  the  treadles  a  a  for  the  purposes 
before  described,  and  the  roller  g,  having  traversed  the  collar  e,  leaves  the  same  and  is  thrown  to 
the  right  by  the  spring/,  thereby,  by  means  of  its  attached  levers  and  rod,  causing  the  swivel- 
shuttles  to  make  a  shot  from  left  to  right.  This  completes  one  revolution  of  the  cam-shaft,  and 
the  operation  is  repeated  as  often  as  may  be  desired  for  the  weaving  of  the  figure  or  pattern. 
When  it  is  desired  to  return  to  the  plain  weaving,  the  shaft  C  is  shifted  back  again  from  left  to 
right,  and  the  action  of  the  loom  is  then  the  same  as  that  first  described. 


Combination  of  Weaves  for  Fabrics  Constructed  with  Two 
Systems  of  Warp  and  One  System  of  Filling. 


Weaves  for  this  division  of  fabrics  are  obtained  by  the  combination  of  two  (or  more)  founda- 
tion or  derivative  weaves.    They  are  designed  for  three  purposes. 

1st.  For  using  two  systems  of  warp  and  one  system  of  filling  in  producing  double-faced 
fabrics,  such  as  ribbons,  etc.,  etc. 

2d.  For  using  an  extra  warp  as  backing  for  heavy-weight  worsted  and  woolen  fabrics. 

3d.  For  figuring  with  an  extra  warp  upon  the  face  of  a  fabric  otherwise  interlaced  with  its 
own  filling  and  warp. 

Two  Systems  of  Warp  and  One  System  of  Filling  for  Producing  Double-faced  Fabrics. 

These  weaves  are  largely  used  in  the  manufacture  of  ribbons  and  similar  fabrics  used  for 
trimmings,  in  which  one  side  of  the  fabric  has  to  be  of  a  totally  different  color  from  the  other. 
Such  fabrics  (mostly  of  silk)  require  a  great  many  ends  in  the  warp,  as  only  one-half  or  two- 
thirds  will  form  one  side  of  the  fabric ;  the  remaining  half  or  one-third  forming  the  other.  In 
addition  to  the  difference  in  color  for  each  side  we  can  also  change  the  quality  of  the  stock,  or 
the  nature  of  the  stock  itself ;  hence  we  may  use  a  finer  quality  of  stock  for  one  side  (the  face), 
and  a  lower  quality  of  stock  for  the  other  (the  back) ;  and  again  we  may  use  silk  for  one  side 
(the  face)  and  cotton  for  the  other  (the  back). 

In  selecting  weaves  for  these  fabrics,  we  generally  use  the  combination  of  a  regular  satin 
weave,  warp  for  face,  with  its  corresponding  satin-weave,  filling  for  face.  Technically  we  classify 
the  warp  which  shows  on  the  upper  side  of  the  fabric  as  the  "  face-warp,"  and  its  mate,  or  the 
warp  forming  the  lower  side  of  the  fabric,  as  the  "  back-warp."  As  mentioned  at  the  beginning, 
only  one  system  of  filling  is  used  for  interlacing  both  systems  of  warps. 

In  combining  both  warps  into  one  fabric  in  this  way,  it  is  necessary  to  observe  the  following 
Rule :  The  raising  of  the  backing  zvarp  over  the  filling  must  always  be  done  at  a  place  in  which 
two  face-threads  raise  next  to  it  (one  on  each  side  of  the  backing  warp  as  raised).  Diagram 
Fig.  581  is  designed  to  illustrate  this  method.  Three  warp-threads  and  four  picks  are 
represented. 

Warp-threads  1  and  3  illustrate  the  face  warp ;  warp-thread  2  represents 
the  back-warp. 

In  examining  the  latter  warp-thread,  we  find  its  point  of  interlacing 
with  the  filling  situated  in  pick  2. 

Face  warp-threads  1  and  3  are  also  raised  on  pick  2,  as  required  by  the 
rule  (given  before)  for  combining  both  systems  of  warps.  A  careful  exami- 
nation of  the  diagram  will  show  a  second  point  possible  for  perfectly  inter- 
secting the  back  warp-thread  (number  2)  into  the  filling  at  pick  number  3. 
Picks  1  or  4,  if  used,  would  produce  imperfectly  stitched  places,  as  in  the 
first-mentioned  spot  face  warp-thread  3  is  down,  and  in  the  latter-mentioned 
spot  face  warp-thread  1  is  down.    To  give  an  illustration  of  these  weaves  Fig.  581. 

Figs.  582,  583  and  584  have  been  designed. 

Weave  Fig.  582,  repeat :  8  warp-threads  and  4  picks,  has  for  its  foundation  the  combination 
of  the  4-harness  broken-twill,  warp  up  for  face  (■),  and  the  4-harness  broken-twill,  filling  up  for 
back  (q).  The  arrangement  of  the  warp  for  face  and  back  in  this  weave  and  weaves  Figs.  583 
and  584,  is  one  end  face  to  alternate  with  one  end  back. 

(114) 


ist  warp-thread. 

2d  warp-thread. 

3d  warp-thread. 

4th  pick. 

■ 

3d  pick. 

■ 

© 

A 

2d  pick. 

■ 

ist  pick. 

115 


Weave  Fig.  583,  repeat:  10  warp-threads  and  5  picks,  has  for  its  foundation  the  combi- 


nation of  the  5 -harness  satin,  warp  up,  for  face  (1 
back  (n). 


and  the  5-harness  satin,  filling  up,  for 


:■  ■ 

ma 

m 

mam 
■ 

■ 


Fig.  5S2. 


tarn 

1 


Fig.  583. 


■  M  '! 

■  1 

:b  ■  1 

■  ■  1 
ma 

m  m  ] 


Fig.  584. 


Weave  Fig.  584,  repeat:  16  warp-threads  and  8  picks,  has  for  its  foundation  the  combi- 
nation of  the  8-harness  satin,  warp  up  for  face  (■),  and  the  8-harness  satin,  filling  up  for 
back  (■). 

In  the  same  manner  as  these  three  examples  of  weaves  are  arranged  for  explaining  the 
present  system  other  combinations  of  satins  or  twills  can  be  designed. 


Using  an  Extra  Warp  for  Backing  for  Heavy-weight  Worsted  and  Woolen  Fabrics. 

These  weaves  are  used  to  obtain  a  thickness  of  the  fabric  by  using  a  lower  stock  for  the 
back,  as,  for  example,  a  wool  back  for  worsted  goods. 

They  may  be  designed  with  one  of  the  following  arrangements  for  the  warp: 
1  end  face.  2  ends  face.  1  end  face. 

1  end  back.  1  end  back.  1  end  back. 
-                           -                             2  ends  face, 

2  ends  repeat,  or      3  ends  repeat,  or       1  end  back. 

5  ends  repeat, 

or  any  other  similar  arrangement. 

In  stitching  the  back  warp  to  the  face  fabric  it  is  necessary  to  observe  the  following 
points : 

1st.  The  backing-warp  has  to  be  raised  over  the  filling,  in  every  instance,  between  two  face- 
ends,  so  that  the  face-threads  will  afterwards  cover  the  backing  ends.  Should  we  have  to  deal 
with  any  face-weave  in  which  only  one  end-warp  raises  at  the  time  (satins  filling  up)  we  must 
raise  the  backing-warp  near  this  one  end-face,  either  to  the  right  or  left  hand. 

2d.  We  must  select  for  the  backing  a  weave  as  regular  as  possible,  such  as  satin-weaves, 
broken-twills,  etc.,  so  that  every  warp-end  gets  the  same  amount  of  binding  and  therefore  of 
tension. 

3d.  If  there  are  more  intersections  of  the  face-warp  with  the  filling  (in  a  certain  number  of 
picks)  than  intersections  with  the  back-warp  (in  the  same  number  of  picks  as  before)  we  must  work 
each  warp  from  a  separate  beam.  The  face-warp,  if  intersecting  oftener  than  the  back-warp  (or 
the  same  number  of  picks)  requires  more  material  ("takes  up  more")  than  the  less  intersecting 
back-warp. 

Two  warp-beams  must  also  be  used  if  the  material  for  the  face  and  back-warp  is  of  a  different 
nature,  such  as  wool  and  cotton  or  worsted  and  wool  spun  yarn,  etc.  The  number  of  intersec- 
tions of  face  and  back-warp  in  such  a  case  can  be  equal. 

4th.  If  using  the  arrangement  "  one  end  face-warp  to  alternate  with  one  end  back-warp," 
never  use  a  heavier  size  of  warp-yarn  for  the  back-warp  than  you  use  for  the  face-yarn.  Such  a 
selection  will  prevent  the  back-warp  from  showing  upon  the  face.  If  using  "  two  ends  face  to 
alternate  with  one  end  back,"  a  proportionally  heavier  yarn  can  be  used  for  the  back-warp. 
Great  care  must  be  exercised  in  selecting  the  stock  for  the  face-warp  and  back-warp  for  fabrics 
requiring  "fulling"  during  the  finishing  process.    The  material  in  the  back-warp,  which  can  be  of 


116 


a  cheaper  quality,  must  have,  as  nearly  as  possible,  the  same  tendency  for  fulling  as  the  "stock" 
which  is  used  in  the  face-warp. 

In  selecting  the  weave  for  the  back-warp,  we  should  be  guided  by  the  required  appearance  of 
the  face  in  the  fabric.  For  example,  a  twill-weave  can  be  used  for  the  interlacing  of  the  back-warp 
if  the  face-weave  is  a  prominent  twill.  If  the  face-warp  is  interlaced  into  a  twill  of  short  repeat,  as 
 j  3-harness  twill,  ^  4-harness  twill,  etc.,  etc.;  or  if  the  face-warp  interlaces  on  a  plain- 
weave,  rib-weave,  basket-weave,  granite-weave,  etc.,  etc.,  thus  showing  small  broken-up  effects  upon 
the  face  of  the  fabric,  a  satin-weave  must  be  used  for  the  interlacing  of  the  back-warp.  In  woolen 
fabrics  requiring  fulling,  the  back-warp,  by  reason  of  its  lesser  amount  of  intersection  as  compared 
with  the  face-warp,  is  apt  to  show  by  impressions  the  points  of  intersecting  of  the  back-warp  on  the 


*~ "       u         arm  eaaccm-m^rrmmaua  snoiQHBannioiac  K .  w..u  m  -    u  uau  ■ 

:    ■  ■                ,  :i                      mrm          m  a  ■  ■  ■      ■  ■□■^■□□□■□■□■□□g 

■  ■  ■  a      a  arm      m  am      m  mrm  ■ 

■  mrm  a  '  u  ■  :  .  mm  aa  bbb  ojbhbb  a  ■  ■  ■  mrmn 
l:  :..    mrm          ■  ■                         .  mrm         m'zm.i  ->    m  mrm      ■  ■  mi  a  m::m  .  earn 

mrm          a  m                           a  a          arm  a  a::m      a  a  a  m  a  a      a  arm 

mrm          a  a  arm  . .      ■  ■  a::a      a  a  a      a  :  arm      a  m  a  a 

^□□□□□■□■□□□□□■a  ^□□□■□■■■□□□■□■h 

Fig.  585.                             Fig.  586.                             Fig.  587.  Fig.  588. 


face  cloth.  For  this  reason  a  twill-weave,  which  is  used  for  interlacing  the  back-warp,  might  possi- 
bly show  its  lines  of  impressions  running  over  the  face  of  the  fabric,  whereas  if  a  satin  is  used  in  the 
present  example  for  interlacing  the  back-warp,  the  impressions,  if  visible  on  the  face  of  the  fabric, 
will  be  well  distributed  and  harmonize  in  every  respect  with  the  weave  used  for  the  interlacing  of 
the  face-warp. 

Weave  Fig.  585  illustrates  what  might  be  called  an  imperfect  combination.  The  ^  4-har- 
ness twill  forms  the  face  upon  every  alternate  warp-thread;  the  7  S-harness  twill,  the  weave 

for  the  back-warp.    It  will  readily  be  seen  that  the  repeat  of  the  — — 7  8-harness  twill, 

taken  in  equal  proportions  with  the  2  -2  twill,  will  require  two  repeats  of  the  latter.  The 

interlacing  of  the  back-warp  into  the  face-twill  will  thus  only  occur  with  every  other  face-twill, 
and  proportionally  make  every  other  face-twill  appear  more  prominently. 

Weave  Fig.  586  illustrates  a  perfect  selection  of  weaves,  the  - — — 2  4-harness  twill  forming  the 
face  upon  every  alternate  warp-thread  with  the  8-harness  satin-weave  (filling  for  face)  as  the  weave 
for  the  back-warp.  A  careful  examination  of  this  weave  will  show  the  method  of  perfectly  com- 
bining the  back-warp  with  the  face  fabric  by  stitching  the  former  alternately  (exchanging)  into 
each  twill  line  of  the  two  repeats  of  the  4-harness  twill,  forming  one  repeat. 

Repeat  of  weaves  Figs.  585  and  586  is  16  warp-threads  and  8  picks. 

^□□□□□□□□■□■hbdbd  k7"bb~bh  8nnnnniiDDiBinannn«miai 

□□□□    B~waB  a  aa      a  ■      n::a  :  a  a         ■  ■    ma         a  a  a 

a  arm  ■         ]  ■      mmzu  a  am      aa  l   ■■    h:;k         o»b    k:.s  ; 

□□■  DBBO .!!■□□□□□□□  [  ■■  L   B   ■         Bi  n     ,  '.  ,  J  L    1  ""■   ■      BH  1        .    B    B  i  ■■ 

m  arm  a                ;               aa      sa             >,    arm  .         i  n  m  )             BGaannnB              a    m::m  •■;  ;n  ma    arm  <  n,  a 
aizts  a                a  i                  ma  urn                       a  m      arm  i             n  ■■     :              a  a    bb         m  b  bb 
b  a  a  hb  it  ai  a  o      a:-;a  :    .       )  bb      am  mam         mm    mr.m   bb 

IB  ..  _JL]DGDDIDIGIQ  :  BH        K7?  V .  BB... :.  .BB  BB  B   B      BB  B  B 

16  1  8  1  16  1  8  1  12  ^4 

Fig.  589.  Fig.  590.  Fig.  591.  Fig.  592.  Fig.  593 


Weave  Fig.  587  illustrates  by  taking  ■  and  a  for  raisers,  ■  and  □  for  sinkers,  an  imperfect 
selection  of  weaves,  as  demonstrated  and  explained  by  example  Fig.  585. 

By  exchanging  the  8-harness  1  ?  twill  (back-weave)  in  Fig.  587,  to  the  4-harness  twill 

— 3  (b,  h  and  a  for  raisers,  □  for  sinkers),  we  produce  a  perfect  combination ;  the  back-warp 
interlacing  with  the  face  fabric  regularly  in  every  face  twill-line  ;  thus,  if  producing  any 
impressions,  such  will  be  uniformly  visible. 

Repeat,  if  using  the  8-harness  1  ?  twill  of  weave  for  back  warp  :  16  warp-threads  and  8 

picks ;  if  using  the  4-harness  1  3  twill  for  weave  of  back-warp  :  8  warp-threads  and  8  picks. 

Weave  Fig.  588  shows  a  perfect  combination  of  weaves,  the  3  j  4-harness  twill  for  face- 
warp  and  the  1  -7  8-harness  satin  for  back-warp.    Repeat:  16  warp-threads  and  8  picks. 


117 


Weave  Fig.  589  shows  another  perfect  combination  of  weaves.    The  -  -4  8-harness  twill  is 

used  for  the  face  and  the  -7  8-harness  twill  for  the  interlacing  of  the  back-warp.    Repeat:  16 

warp-threads  and  8  picks. 

Weave  Fig.  590  represents  a  granite-weave.    Repeat :  8  warp-threads  and  8  picks. 

Fig.  591  illustrates  the  combination  of  weave  Fig.  590  for  face-warp  with  the  8-harness 
satin  for  the  back  warp,  face  and  back-warp  exchanging  alternately.  Repeat:  16  warp-threads 
and  8  picks. 

Fig.  592  represents  a  common  granite- weave  designed  for  8  warp-threads  and  8  picks  in  its 
repeat. 

Weave  Fig.  593  illustrates  the  latter  applied  as  a  backing  warp.    Repeat  :  12  warp-threads 
and  8  picks.    Arrangement  of  warp  :  2  threads  face-warp  to  alternate  with  1  thread  back-warp. 
The  next  arrangement  for  combination  of  face  and  back-warp  is  found  in  1  end  face,  1  end 
back,  2  ends  face,  1  end  back  =5  ends  in  repeat. 
63m5"S  Weave  Fi^.  SQo  is  constructed  in  this  manner,  and  has  for  its  face-     r1  ■  5  -  ;"::S 

weave  Fig.  504  (repeat:  6-harness  and  6  picks).    Weave  Fi<7.  505  has      B      S:oS  " 


Fig.  594. 


for  its  repeat,  10  warp -threads  and  6  picks.  Pig  ^ 


Figuring  with  an  extra  Warp  upon  the  Face  of  a  Fabric  otherwise  interlaced  with 

its  Regular  Warp  and  Filling. 

This  method  of  combining  two  systems  of  warps  with  one  filling  is  extensively  used  in  the 
manufacture  of  textile  fabrics  devoted  to  women's  wear.  One  system  of  warp  and  the  filling  pro- 
duces the  ground  structure  of  the  fabric,  and  then  the  second  system  of  warp  is  employed  to 

□□□□□□□□□□□□□□□□□□□□□□□□  produce  the  figure  upon  this  ground  structure. 

I  ;  .■  ;      j         As  a  peculiarity  of  this  second  system  of  warp,  we  mention 

BiiBini  j  tjiat  jt  fs  on\y  visible  on  the  face  of  the  fabric  at  certain  places 

O.  □□□JJGDuuJLj.-jLi  1  J'_i_i._,.JD J.j  j  .]    .  ,.  ,    ,  .  ,  _ 

£       □□□^□□^□□□□□□•^□□rEBBa  (according  to  the  design  ,  while  at  other  times  it  is  made  to  float 

CJJjdbDDDDDDDDDDDDDLUJJJ  ,      .        .  .  .  *  ,       ,  .  .        ,  ■•11  1  r 

Fig.  596.  on  the  back  or  is  stitched  in  certain  places  not  visible  on  the  iace. 

Weave   to  Longitudinal  Sec-         To  give  a  thorough  explanation  of  the  general  principles  in- 
tion.   Fig.  597.  volved  in  this  system,  Figs.  596  to  609  are  given. 

Fig.  596  illustrates  a  part  of  a  weave.  The  warp-threads  indicated  by  1  and  2,  shown  by  a 
type,  represent  two  ground  warp-threads  interlacing  into  the  filling  in  "  common  plain."  Warp- 
thread  indicated  by  3  and  shown  by  ■  type  represents  the  figuring  thread.  The  latter  is  8 
picks  down,  8  picks  up,  8  picks  down.  A  indicates  the  place  where  the  figure  warp  raises  on 
the  face  of  the  fabric,  and  B  indicates  the  place  where  the  former  returns  for  floating  on  the 
back. 


Fig  597. 

(Section  corresponding  to  Fig.  596.) 

Examining  the  longitudinal  section,  Fig.  597,  we  find  the  same  numbers  and  letters  used. 
JS10.  1  warp-thread,  ground  fabric,  is  indicated  by  a  dotted  line  (■  in  the  weave). 
No.  2  warp-thread,  ground  fabric,  is  indicated  by  a  fine  line  (■  in  the  weave). 
No.  3  warp-thread,  the  figure-thread  is  indicated  by  a  heavy  line  (■  in  the  weave). 
Places  A  and  B  in  the  longitudinal  section  indicate  the  respective  places  marked  by  corres- 
ponding letters  in  part  of  a  weave  Fig.  596. 


118 


Fig.  598  illustrates  two  warp-threads  of  a  four-leaf  twill,  ground  fabric,  having  in  its  centre 

a  figure  warp-thread,  which  also  is  stitched  in  certain  places  to  the  ground  fabric,  but  so  that 

the  stitchings  are  not  visible  on  the  face. 

Warp-thread  No.  1  reads  2  picks  up,      )  , 

r  .  .     ,         >  6  times  over, 

2  picks  down,  J 

Warp-thread  No.  2  reads  1  pick  down,  ^  '}  Ground  threads. 

2  picks  up,      >6  times  over, 
I  pick  down,  J 

Warp-thread  No.  3  reads  1  pick  down, 

I  pick  up  (binder), 
4  picks  down, 

7  picks  up  (figure  effect  on  face), 

8  picks  down, 

1  pick  up  (binder), 

2  picks  down. 


a 
o 
h 


□□□□□□□□□□□□□□□□□□□□□□no 

□□□□□□□CD"  :  .  r-r.7rn 
□□□□□□□□□□□□□□□□□□□□□□□□ 

inrnmm 

□□□□□□□□□□□□□□□□□□□□□□□a 


■ 

R-fi  m 

□□□□□□ 

Fig.  598. 
(Weave  to  longitudinal  section 
Fig.  599.) 


Letter  A  indicates  the  binding  at  pick  No.  2. 

Letter  B  indicates  the  raising  to  face  at  pick  No.  7. 

Letter  Vindicates  the  lowering  to  back  at  pick  No.  14. 

Letter  Vindicates  the- binding  at  pick  No.  22. 

Examining  the  longitudinal  section  Fig.  599,  we  find  the  same 
numbers  and  letters  used,  so  as  to  give  a  perfectly  clear  compre- 
hension of  the  matter. 

No.  1  warp-thread  is  indicated  by  a  dotted  line,  ground  fabric  (■  in  the  weave). 

No.  2  warp-thread  is  indicated  by  a  fine  line,  ground  fabric  (■  in  the  weave). 

No.  3  warp-thread  is  indicated  by  a  heavy  line,  representing  the  figure-thread  (represented  by 
■  in  the  weave). 

"Feoce. 

I 


Fig.  599. 

(Section  corresponding  to  Fig.  598  ) 

Places  marked  A  and  D  clearly  indicate  the  binding  of  the  figure-warp.  By  the  nature  of 
the  operation  the  same  is  pulled  down  below  the  ground  fabric  and  covered  by  the  two  warp- 
threads  nearest  to  it. 

B  represents  the  raising  of  the  figure-warp;  C  represents  the  lowering  of  the  figure-warp. 

Fabrics  made  with  Loose  Texture  without  Binding  the  Figure. 

If  a  fabric  is  constructed  with  a  thin  or  loose  texture,  the  floating  warp-threads  are  apt  to 
show  through  on  the  face,  hence  the  latter  threads  have  to  be  cut  off  after  the  fabric  leaves  the 
loom.    In  this  case  a  second  point  has  to  be  considered: 

If  the  figure-thread  (No.  3)  as  shown  in  Figs.  596  and  597,  after  producing  the  figure  on  the 
face,  simply  passes  to  the  rear,  there  will  be  nothing  else  to  keep  the  figure-threads  upon  the 
ground  fabric  but  the  slight  pressure  of  the  ground-warp  upon  the  figure-warp,  at  the  place  where 
the  latter  intersects  the  former.    As  this  would  be  insufficient  to  enable  the  fabric  to  resist  the 


119 


least  wear  and  tear,  we  must  bind  the  figure-warp  close  into  the  ground  fabric  all  around  the 
edges  of  the  design.  The  best  weave  to  be  employed  for  this  purpose  is  the  "plain,"  which  by 
two  or  three  repeats  will  give  sufficient  strength  to  the  figure-warp  to  allow  it  to  be  cut  off  on  the 
back.    (Cut  not  too  close  to  the  place  of  binding.) 


□  □  □  □ 

□  □  ■  □  □ 

□  □  ■■■  □  □ 
□  □  ■■■■■  □  □ 

:  □  □  bbbbbbb  □  □ 

□  □  ■  ■■■■■■■  □  □ 

□  ■■■  ■■■■■■■  □ 

□  ■■■■■  ■■■■■■■  □ 

□  ■■■■■  Q 

□  ■■■■■■■  ■■■  □ 
a  □  ■■■■■■■  ■  □  □ 

□  □  ■■■■■■■  □  a 

a  □  □ 

□  □  ■■■  □  □ 

□  □  ■  □  □ 

□  □  □  □ 
c  a  a 


Fig_;_6oo.  Fig.  6oi. 

Fig.  600  is  designed  to  illustrate  this  point  in  general,  as  well  as  to  illustrate  a  second  point, 
in  which  this  binding  is  used  for  producing  a  second  effect  to  the  main  design  itself.  In  the 
illustration  this  binding  forms  a  shaded  effect  around  the  main  design. 

This  binding  may  also  be  used  for  shading  in  floral  designs,  where  in  some  cases  the  colors 
have  to  appear  to  their  full  extent.  Some  cases  may  require  the  same  color  only  in  a  subdued 
form,  while  others  may  require  that  it  shall  be  scarcely  visible. 

To  get  these  effects  you  have  to  bind  your  figure-warp  into  the  ground  cloth  to  a  sufficient 
degree  and  in  such  order  as  is  required.  The  weave  must  be  selected  according  to  the  required 
effect,  whether  heavy  twills,  fine  twills,  satin-weaves  or  cotton-weave,  etc. 

^□^^□■■■□■■□□HancjHanaHaDnBnGaBnnBnnaHaanBanGHnnannaBanHHLisnHnnsDDGaDnnH— •  1 1 
m    m  ■  ■  ■  ■ 

■  -■  ■  ■  ■  ■  ■ 
bbbbbbb 

■  ■■■■■  a  1 
"  ■  ■  ■  ■  ■ 

.Sitll        H  •  B    B    B  ! 

t-  :  b  b  mm 

□□p.    b  a  a  b      ■  ■  ■  :: 

9  ■  ■  ■  a 
bbbbbbb 

E  BBBBBBB 

■  ■    ■    ■    ■    ■'  . 

mz  ■  ■  ■  ■  ■ 

r  ■  ;  B        ■   ■    ■        B  B   B   B  1 

f  H-1  ,  B  Bi  Bi  ] 

□□■□□^□□□■□□^□□■□□□■□□□■□□ijBaDHanaHanHBaDnBanaDDCBnnL"t  bi     b  b  b      b  ■ 

f  I    I    B    B  1 

-rxijzz^.,  bb  bb  bb  bb  ■  bb  bb 

!»'  ■    .  .  :i  .  BB   BB   ■   ■   ■   BB  ■ 

l':>c":.".j;j.  ::y  :  ~xm  :  i  .  '         n  —  i  ■  bb  bb  bb  ■  ■  ■ 

BaarjwzGGBDnDB^DBnnOTLiaDB  jD  m  r.i^G-ja^nziB:  jii:;  ■  bb  bb  bb  ■ 

:  :   B  iB   B  ;  !  B        BB'  BB   ■        B:  ! 

mac  '  b  bi  ■-  b 

b      ■  bb  ■      :  ;  b 
. .  m  i  i  i  i     :  !□: ;  :aanDBDDa  1 

C~flZ3Zi  BBBBBBBBBBBBBB 

■  ■  ■     w:  '■'  m  : 

■  ■    BB   BB   BB    BB   BB  ; 

mr:  bb  bb  bb  bb  bb 

B        ■   BB   BB  i      B  B  B  B  M 

U  :                                         B               .  "B-  J:  '  .:                                        ^  Bi  :  B  :      :  ■  M  ..'  J 

.      B   B   B                                                      B  BB-  BB  ■  Bi  1  ■ 

BHC:                                                                 ]  ".BZZZBZ1-  BB  BB  BB  '■  BI.  i                                      '  1 

Cam                                    BZZZQZZ'Z:  ;                                                   ■  ■  BB  BB  Bi  ■  ■  1 

BB  BB  BB  BB  BB  BB  BB 

□□PC                                                                                                           BB  ■  ■  BB  BB  BB  BB 

BB'  BB  BB:  'BB  BB 

B   B   B  B  ■  BB 

iizzaHZzcBzcaBnzBzanBanDBDanBaaBDanBnDnBaanBaaBJuaBaDnBzzBBzzuzzzii^^ziJz^^Li^j 

Fig.  602. 

Fig.  6oi  represents  a  sketch  for  a  design  which  is  practically  worked  out  on  the  □  designing 
paper  in  Fig.  602,  to  be  used  on  a  common  harness-loom  for  a  dress-goods  fabric,  produced  on 
two  systems  of  warp,  one  system  of  filling;  ground  fabric,  " plain;"  figure  as  formed  by  the  extra 
warp — circular  spots,  distributed  after  the  principle  of  the  five-leaf  satin. 

The  warp  is  arranged — 

1  end  ground,  )  , 

53         '  >y  times  over,  14  ends. 
1  end  figure,  J 

1  end  ground,  1  end 

15  ends  in  one  repeat. 


120 


Fig.  603  illustrates  one  spot  (as  used  in  Fig.  602),  shown  wknout  the  ground-warp,  and  thus 
represents  the  spot  effect  as  visible  on  the  face  of  the  fabric. 

In  weave  Fig.  602  the  ■  type  indicates  the  "raisers"  for  the  ground-warp,  the  ■  indicates  the 
effect  of  the  figure-warp  as  produced  upon  the  before-mentioned  ground-structure.  The  a  indi- 
cates the  additional  binding  of  the  figure-warp  to  the  ground-structure. 


Fig  603.  Fig.  604. 


As  mentioned  at  the  beginning,  the  plain  ground  fabric  is  not  always  used.  Very  frequently 
we  have  used  the  "  twilled"  face.  For  this  reason  Figs.  604  and  605  are  designed,  representing  the 
sketch  of  the  fabric  and  the  weave.  The  arrangement  of  the  "  motive  "  in  the  sketch  is  after  the  prin- 
ciple of  the  four-leaf  broken-twill.  The  weave  of  the  ground  fabric  consists  of  the  four-harness  (even- 
sided)  twill  2  2-    The  b  in  Fig.  605  represents  the  ground  fabric ;  the  ■  in  Fig.  605  represents 


innniiGBnnnrDBGBnnnnEBnpnnnnHBGHnncGGaGPGnGnnH 
■  a  a  a>  i 


■ 


innnroncjHB 
□■□□□□□■□HaroDDBDi 


-□■□wi  :i  iTj:^o&^^.cj:mzMDOoaom 
limn  ,1  .IT tcmdcouljn^keus ;,M..,y 
ui  :i  ni  ii  n  :t  rjDDnaacHanannBnBm 
ii  [  m  fii  in  u-i  m  ;  -    : :    i      ■ ) 

L  r  v:.r*  a  .1  H  .:  ,MDf  IGUDDDBDBDr:  "  ;.  'N 

rtcrj  ;[::LJwniinnGnGPiGB::GGG_:y^gi 

□□□□CWL'BCCGGGPGBCGGGGeGBDLJ 

•  -  ] 

B  B  B  1 
B'  B1  I 

■  ■  ■ 

□□□■□lini  u:nn    ■  ■  ■  ■  ■ 

H    H    ■     ■    9    ■  ■ 


□□□□□BnBDDnDnBnannnDDHaBnLjnn[.:pnHc.nnGnHi 

■  ■■■■■■! 

b  ■  ■  ■  ■ 

□bdo  i  innnnBBDBr  n  b      ■  ■  ■gccbb 

[r::  B     i  ■       ■       B       B  B  1 

[.'!•!  ■   ■    ■    ■   ■  B   B  B 

■  ■■■■■■ 

■  ■■■■■■  i 

■  ■    ■    ■   ■    ■  ■ 
■    ■    ■   ■  ■ 

□■□■□□□□□^□■□□□□□■□■□□□□□■□^□□□□■■■■■□□□□■□■□□□□□■□■□□[1D 


Fig.  605. 


the  figure  produced  upon  the  former;  the  a  indicates  the  additional  binding  of  the  figure-warp  to 
the  ground  structure. 


The  warp  is  dressed — 


I  end  figure, 
I  end  ground, 


2  ends  in  repeat. 

It  does  not  always  occur  that  only  one  color  is  used  for  the  figure-warp.    Very  often  differ- 


■■■■■■■■  ■■ 
■■■■■■■  mmm 
■■■■■■■'■■■■a 


■■■■■■■■■  '•: 
■■■■■■■ 

Fig.  606. 


RGGBGGGG 

■■  1 

EBBKiKSKlK 

BBBBHKHK 

■  ■■■■ 

■■■■■■ 

BBBBBBBfl 

■■■■■■■■ 

Fig.  608. 


ent  combinations  are  employed;  but,  in  whatever  shape,  form,  quality  or  size,  the  principle  of  the 
construction  of  the  fabric  will  remain  the  same  as  if  only  one  color  should  be  used. 


121 


We  now  pass  to  fabrics  where  the  floating  of  the  figure-warp  is  omitted,  such  as  fabrics  in 
which  the  extra  warp  is  bound  to  the  ground  fabric.  In  constructing  fabrics  of  this  character 
the  "  plain  "  weave,  which  has  been  used  so  extensively  in  weaves  previously  illustrated  for  inter- 
lacing the  ground  structure  of  the  fabric,  is  omitted. 

The  smallest  weave  which  can  be  used  for  the  present  purpose  is  the  3 -harness  -  1 

twill,  but  generally  the  4-harness  even-sided  twill  is  used  as  the  smallest  repeat  of  a  weave.  In 
this  manner  Figs.  606  and  607  are  constructed,  representing  a  motive  and  the  complete  weave  for 


■  ■  ii 

BBS    H  r 


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B  . 

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Fig.  607. 


a  figured  dress-goods.    The  motive,  Fig.  606,  calls  for  13  threads  in  warp  and  filling,  hence  the 

dressing  of  the  warp  for  weave  Fig.  607  calls  for 

1  end  ground  ]  13  times 

,  £         '  r  =26  ends: 

I  end  ngure,    J  over, 

15  ends  ground,  15 

41  ends  in  repeat. 

The  ■  is  for  ground  warp,  the  ■  for  flgure-warp,  and  the  □  represents  the  places  for  binding 
the  figure-warp  to  the  ground  structure.  This  stitching  is  done  with  the  regular  eight-leaf 
satin. 

Weave  607,  calling  in  its  complete  extent  for  82  ends,  can  be  reduced  by  cross-draw  to  30 
harness. 

Fig.  608  represents  a  motive,  a  crescent,  arranged  in  Fig.  609,  for  96  ends  repeat.  The 

motive  calling  for  16  ends  for  figure,  will  necessitate  the  following  dressing : 

1  end  figure,    1  16  times 

j  1  1  =  32  ends. 

I  end  ground,  J     over,  J 

16  ends  ground,  16 

48  ends  in  repeat. 


122 


Comparison  of  the  Size  of  the  Materials  as  used  for  Ground-warp  and  Figure-warp. 

The  first  condition  required  by  the  figure-warp  is  to  produce  a  design  solid  in  appearance  on 
The  ground  fabric.  To  produce  this  effect  the  texture  is  required  to  be  as  close  set  as  possible ;  and 
the  figure-warp  must  be  made  of  sufficient  thickness,  so  as  to  cover  the  interstices  between  each 
other  as  nearly  as  possible.  The  general  arrangement  for  changing  ground  and  figure-warp  is 
the  alternate  arrangement  between  both  (i  and  i).  Again,  care  must  be  exercised  not  to  have 
the  ground-warp  of  a  heavier  size  than  is  necessary;  for  the  figure- threads  have  not  only  to  fill 
the  places  between  the  ground-threads,  but  also  to  cover  them  actually;  hence  the  diameter 


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Fig.  609. 


of  the  figure-warp  must  equal  the  diameter  of  the  ground-warp,  plus  the  space  between  each 
ground-thread. 

Comparison  of  the  Twist  in  the  Materials  as  used  for  Ground-warp  and  Figure-warp. 

As  a  general  rule,  the  ground-warp  is  of  a  harder  twist  than  the  figure-warp.  The 
latter  is  generally  only  twisted  enough  to  weave  well.  There  are  two  reasons  for  this  arrange- 
ment of  the  twist.  1.  The  ground-fabric  has  to  stand  the  strain  inweaving;  hence,  must  be  of  a 
harder  arrangement  in  twist.  2.  The  figure-warp  has  to  cover  the  design ;  hence  the  loose  twist 
will  assist  in  this  work. 

Necessity  of  having  Tzvo  Beams  for  Weaving. 

In  almost  every  case  in  producing  the  textile  fabrics  here  explained,  we  are  compelled  to  em- 
ploy two  beams,  one  beam  for  the  ground-warp,  one  beam  for  the  figure-warp.  The  reason  for  using 


123 


two  beams  is  found  in  the  difference  of  the  weave  (for  the  figure-warp  is  less  interlacing  than  the 
ground-warp)  as  well  as  in  the  difference  of  the  materials  used  for  ground-warp  and  figure- 
warp. 

Another  system  of  weaving  for  producing  figures  upon  the  face  of  a  single-cloth  fabric  is 
that  known  as 


Lappet  Weaving. 


This  method  of  producing  figures  upon  the  face  of  a  fabric  was  very  extensively  used  prior 
to  the  introduction  of  swivel  weaving  and  the  invention  of  the  Jacquard  loom.  The  method  of 
operation  in  this  system  of  weaving  is  that  of  passing  an  independent  set  of  threads  through  a 
series  of  needles  set  in  a  frame,  situated  between  the  reed  and  the  shuttle-raceway  of  the  lay. 
This  frame  is  arranged  so  as  to  slide  horizontally  to  and  fro,  regulated  by  the  "pattern-wheel," 
and  the  needles  are  depressed  at  proper  moments  to  allow  the  figuring-thread  to  interweave  with 
the  ground-cloth  by  passing  the  shuttle  and  its  filling  over  the  figuring-thread.  This  method  of 
interweaving  the  figuring-threads  is,  in  looms  of  older  construction,  arranged  to  have  the  needles 

which  guide  the  figuring-thread  operated  on  from  below,  as  is  illustrated 
in  diagram  Fig.  610.  The  needles  a  (only  the  first  shown)  are  fixed  in 
the  guide-frame  b.  The  needles  have  a  thread,  c,  passed  through  the  eye 
d  near  their  point,  e  represents  the  reed, /and  g  the  shed  formed  by  the 
warp  of  the  regular  cloth,  h  the  woven  part  of  the  fabric,  and  i  the 
FlG-  6ro-  shuttle. 
The  method  of  interlacing  is  as  follows:  When  frame  b  is  raised  the  needles  pass  through 
the  warp  at  the  rear  of  the  shuttle  i  and  guide-pins  k,  but  in  front  of  reed  e,  so  that  by  inserting 
the  filling  by  means  of  the  shuttle  the  figuring-thread  gets  interlaced  with  the  regular  cloth 
structure.  Next  the  frame  guiding  the  needle  is  lowered  and  the  latter  moved  to 
the  right  or  to  the  left  as  required  by  the  design  to  be  produced.    This  hori- 


zontal moving  of  the  frame,  according  to  design  to  be  produced,  is  effected  by 
grooves  /  in  a  ratchet-wheel  m,  illustrated  in  Fig.  6 1 1 .    The  pin  n,  fastened  to 
the  end  of  the  connecting  lever  o,  being  worked  alternately  from  side  to  side  of 
the  groove,  regulates  the  distance  in  moving  the  needles  for  the  figuring  effect         Fig.  611. 
required. 

This  method  of  operating  the  frame  which  guides  the  needles  requires  a  fresh  one  for  every 

new  design.  This  ratchet-wheel  moves  one  tooth  for  each 
pick,  and  the  number  of  teeth  it  contains  is  regulated  by  the 
length  of  the  design. 

Diagram  Fig.  612  clearly  illustrates  (enlarged  as  to  size 
of  threads)  the  method  of  interlacing  the  figuring-threads  into 
the  ground  structure.     The  figuring-thread  is  represented 
shaded,  ground  warp  and  filling  outlined. 
Fig.  613  is  the  same 


effect  arranged  in  3  repeats 
in  a  fabric  sample.  As 
previously  mentioned,  the 
frame  containing  the  needles 
for  guiding  the  figuring- 
warp  is  placed  in  some  attachment  to  these  looms,  situated  above  the  shed  formed  by  the  regular 
warp. 

Diagrams  Figs.  614,  615,  616,  617,  618,  619  and  620  illustrate  a  loom  and  the  method  of 


Fig.  612. 


Fig.  613. 


124 


operation  for  lappet  weaving  as  extensively  used  in  the  manufacture  of  elastic  web  fabrics,  such 
as  suspender  webbing,  also  ribbons,  tapes,  and  narrow  goods  generally.  It  can  be  arranged, 
however,  for  wider  " figured"  fabrics.    This  loom  is  patented  by  Mr.  G.  H.  Hodges. 

Fig.  614  is  a  side  elevation  of  the  lathe  and  pattern-wheel;  certain  parts  of  the  lathe  being 
represented  as  broken  off. 

Fig.  615  is  an  end  elevation  of  the  lathe,  pattern-wheel  and  ratchet  mechanism  for  operating 
the  pattern-wheel. 

Fig.  616  is  an  elevation  of  the  pattern-wheel  detached,  showing  the  side  opposite  that  repre- 
sented in  Fig.  615. 


Fig.  614.  Fig.  615. 


Fig.  617  is  a  sectional  view  representing  the  needles  elevated. 
Fig.  618  is  a  like  view  representing  the  needles  depressed. 

Fig.  619  is  a  front  elevation,  partly  broken  away,  of  a  lappet  loom  of  the  present  construction. 

Fig.  620  is  an  end  elevation  of  the  loom,  the  devices  for  connecting  the  needle-bars  with 
their  actuating  levers,  and  also  the  mechanism  for  actuating,  the  pattern-wheel  being  omitted  in 
order  to  avoid  confusion  and  to  better  illustrate  the  features  shown  in  this  figure.  Like  letters 
of  reference  indicate  corresponding  parts  in  the  different  figures  of  the  drawings,  c  represents 
the  figuring-threads ;  Uy  the  woven  fabric;  A,  the  lathe;  B  B,  the  pendulous  arms  by  which  the 
same  is  suspended;  Cy  the  shuttle;  D,  the  shuttle-race;  E,  a  section  of  the  reed. 


Fig.  616.  Fig.  617.  Fig.  618. 


The  web  U  is  ornamented  by  means  of  threads  c,  which  pass  from  spools  (not  shown) 
mounted  on  the  loom  through  the  guides  and  thence  respectively  through  the  eyes  of  the  needles 
d  m  and  into  the  web. 

Guards  m2  are  employed  to  prevent  the  needles  from  being  sprung  or  drawn  out  of 
proper  position  by  the  strain  on  the  threads  c  during  the  process  of  intersecting  the  same 
in  the  fabric.  These  guards  consist  of  rigid  wires  arranged  horizontally  in  front  of  the 
needles  near  the  upper  portion  of  the  reed  and  firmly  secured  at  either  end  to  a  fixed 
portion  of  the  lathe  or  shuttle  race  in  such  a  manner  that  when  a  needle  is  bent  a  trifle 


outwardly  or  toward  the  front  of  the  lathe  by  the  action  of  its  thread  it  will  strike  one  of  the 
guards,  the  vertical  movements  of  the  needle  not  being  interfered  with  thereby.  The  needles 
work  vertically  and  pass  through  the  unfilled  warp-threads  between  the  path  or  race  of 
the  shuttle,  the  reed,  the  pattern-wheel  and  needles  swinging  with  the  lathe.  Lateral  movements 
of  the  needles  in  one  direction  or  to  the  left  are  caused  by  drawing  up  the  horizontal  arm  of  the 
lever  L  by  means  of  the  rod  k,  thereby  bringing  the  vertical  arm  of  this  lever  into  contact  with 
projections  on  the  pawls  causing  the  latter  to  engage  the  teeth  and  slide  the  bars  or  holders  H J 
to  the  left,  the  reverse  lateral  movement  of  the  needles  to  the  right  being  caused  by  the  action  of 
the  springs  AT  when  the  vertical  arm  of  the  lever  L  is  withdrawn  from  the  projection  i  by  depres- 
sing the  rod  k.  The  clamp  /  is  returned  to  its  normal  position  after  the  vertical  arm  of  the  lever 
L  is  withdrawn  by  means  of  the  springs  g2,  its  movement  toward  the  right  being  arrested  by  the 
stop  gz,  which  determines  the  oscillation  of  the  socket  f1.  When  the  vertical  arm  of  the  lever  L 
is  withdrawn  from  the  projections  on  the  pawls  and  strikes  the  curved  arms  of  the  pawls,  the 
pawls  are  thereby  disengaged  from  the  teeth  on  the  bars  H  J,  permitting  said  bars  to  be  forced 


Fig.  619. 


Fig.  620. 


by  the  springs  K  against  their  respective  pins  in  the  wheel  Q\  but  as  the  pins  are  of  unequal 
lengths  one  of  the  bars  will  travel  toward  the  right  a  greater  distance  than  the  other,  thus  chang- 
ing the  relative  position  of  the  needles  d  m  with  respect  to  the  web  E.  It  will  be  obvious,  how- 
ever, that  when  the  vertical  arm  of  the  lever  L  strikes  the  projections  on  the  pawls  both  the  pawls 
will  be  caused  to  engage  the  bars  simultaneously  and  both  move  in  unison  to  the  left. 

In  order  to  more  clearly  understand  the  method  of  intersecting  the  threads  c  in  the  web  Uy 
and  thereby  ornamenting  the  same,  the  operation  of  the  principal  parts  shown  during  one  full 
revolution  of  the  main  driving-wheel  of  the  loom,  or  one  complete  traverse  of  the  lathe  is 
described.  The  lathe  being  at  the  front  of  the  loom,  the  shuttle  at  the  right-hand  side  of  the 
fabric,  and  the  needles,  needle-bars,  and  pattern-wheel  elevated,  with  the  needles  threaded,  and 
the  bars  against  their  respective  pins  in  the  pattern-wheel,  if,  now,  the  loom  is  started  up  the  lathe 
will  be  moved  or  swung  back  from  the  breast-beam,  and  at  the  first  quarter  of  its  traverse  the 
needles,  needle-bars  and  pattern-wheel  will  be  lowered,  and  the  needles  carrying  their  threads 
will  pass  through  the  warp-threads  and  remain  down  while  the  lathe  passes  through  the  second 
and  third  quarters  of  its  traverse.    After  the  lathe  has  passed  through  the  first  quarter  of  its 


126 


traverse,  and  while  it  is  making  its  second  and  third  quarters  the  shuttle  is  passed  from  right  to 
left  of  the  web,  completing  its  passage  at  about  the  centre  of  the  third  quarter  of  the  traverse  of 
the  lathe.  The  needles  begin  to  rise  as  the  lathe  enters  upon  the  fourth  quarter  of  its  traverse, 
their  upward  movement  being  completed  before  the  lathe  completes  its  fourth  or  last  quarter. 
The  lathe  then  continues  to  advance  to  the  front  to  beat  up  the  filling,  and  while  completing  the 
fourth  or  last  quarter  of  its  course  the  lever  L  is  actuated  through  the  rod  k,  and  the  needles 
carried  to  the  left,  after  which  the  pattern-wheel  is  revolved  one  notch  or  step  to  change  the 
position  of  its  pins  with  respect  to  the  bars  or  holders  H  J,  after  which  the  lever  L  is  withdrawn 
from  the  projections  of  the  pawls  and  striking  the  arms  of  the  pawls  disengages  them  from  the 
bars  H  J,  and  permits  the  springs  K  to  move  the  bars  to  the  right  into  contact  with  the  pattern- 
wheel,  and  thereby  change  the  position  of  the  needles  preparatory  to  repeating  the  operation. 
The  needles  d  are  secured  to  the  needle-bar  or  holder  H  by  a  screw-clamp,  and  the  needles  m  in 
the  bar  J  by  screws ;  but  any  other  suitable  means  may  be  employed  for  this  purpose.  Any 
desired  number  of  needles  and  needle-holders  may  also  be  employed. 

Mr.  Hodges  in  his  patent  further  mentions  that  "  instead  of  using  the  rows  of  pins, 
annular  cam-shaped  flanges  may  be  employed  on  the  wheel  Q,  against  which  the  bars  //  J  may 
abut,  if  desired. 

"  The  movements  of  the  needles  may  be  so  timed  as  to  cause  them  to  work '  pick-and-pick,' 
or  pass  through  the  warp-threads  at  each  throw  of  the  shuttle  or  otherwise,  as  desired.  The 
pawls  and  lever  L  afford  a  convenient  means  for  locking  the  bars  H  /together,  and  moving  them 
away  from  the  pattern- wheel  conjointly. 

u  A  proper  tension  and  take-up  mechanism  (not  shown)  must  be  used  with  each  of  the 
threads  c. 

"  But  one  shuttle  and  one  reed  are  shown  in  the  drawings,  but  it  will  be  understood  that 
several  may  be  employed  in  the  same  loom  ;  also,  that  one  or  more  needles  may  be  employed 
with  each  shuttle  and  reed  as  desired. 

"  It  is  preferable  to  have  the  threads  carried  by  the  needles  of  a  different  color  or  colors  from 
those  composing  the  warp  and  filling  of  the  fabric ;  also,  that  in  commencing  the  weaving  the 
needle-threads  should  be  drawn  some  distance  through  the  eyes  of  the  needles,  in  order  that  the 
loose  ends  of  the  threads  may  be  caught  and  secured  in  the  fabric  by  the  filling." 

TRICOT  WEAVES. 

Under  the  general  name  of  tricot  are  classified  fabrics  presenting  rib-effects.  The  weaves  of 
the  tricot  fabrics  are  more  or  less  elastic,  according  to  the  uses  to  which  they  are  to  be  put.  If, 
for  example,  the  stuffs  are  to  be  used  for  trousering  the  tricot  weaves  will  be  much  less  likely  to 
bag  at  the  knees  than  other  fabrics.  If  used  for  ladies'  dress  goods,  cloakings,  etc.,  they  will  tend 
to  give  the  garment  a  nicer  and  closer  fit  to  the  person  of  the  wearer. 

Tricot  weaves  are  graded  into  tricots  forming  rib-effects  in  the  direction  of  the  filling  and 
tricots  forming  rib-effects  in  the  direction  of  the  warp.    We  will  consider  the  former  first. 

Tricots  with  Rib-Effects  in  the  Direction  of  the  Filling 

Are  employed  largely  for  stuffs  for  dress  goods,  cloakings,  overcoatings,  suitings,  etc.  The 
arrangement  of  the  weave  most  frequently  employed  is  2  picks  face  and  2  picks  back:  but  this 
may  be  changed  to  I  pick  face  and  I  pick  back,  or  to  2  picks  face  and  I  pick  back,  according  to 
the  size  of  the  rib  required  in  the  fabric.  As  a  general  rule,  the  heavier  the  back  filling  used, 
the  more  prominent  the  rib-effect  will  be. 

Fig.  621  is  the  4-harness  (filling)  tricot  weave,  2  picks  for  face  to  alternate  with  2  picks  for 
back.  Repeat:  4-harness,  straight  draw,  8  picks.  This  weave  has  for  its  foundation  the  4-har- 
ness broken-twill,  2  picks,  warp  up,  to  alternate  with  2  picks,  filling  up. 


127 


Fig.  622  is  the  3-harness  (filling)  tricot  weave,  2  picks  for  face  to  alternate  with  2  picks 
for  back.  Repeat:  3-harness,  straight  draw,  12  picks.  This  weave  has  for  its  foundation  the 
3-harness  twill,  2  picks,  warp  up,  to  alternate  with  2  picks,  filling  up. 


■  1 

□B 


B3B3S  1B383B3D  nfflfflST ._ 

B3  aaa  _;aa  B3  :aa  a  n  ,  ■  i 

aa  las  l  as  aaa  a 

□■  :      ■  I  ■        ■  ! 

aa  aaa  a  12a  :  ■    ]  a  'aaa  aa 

;  aaa  iaaa  HBOBfflD  ;    ■  ■ 

naa(  aa  aaa  aaa  i 

□□■□.:]■  ■  •*,.}! 

□  □Bijubd  aaa  .aaa 

i  ;  ;  ■  _;:  ■ 
aa  aaa  .a 

■  ;      ■  :  ] 

a  aaa  aa 

aanaan  aaa  aaa  i 

IB        ■  J  ,  ] 

Fig.  621.  Fig.  622.  Fig.  623. 

Fig.  623  represents  the  4-harness  (filling)  tricot  weave,  I  lace  pick  to  alternate  with  a  backing 
pick.  4-harness,  straight  draw,  8  picks,  repeat  of  pattern.  This  weave  is  composed  of  the 
4-harness  broken-twill. 

Fig.  624,  4-harness  (filling)  tricot  weave,  2  picks  face  to  alternate  with  1  pick  back.  Repeat: 
4-harness,  straight  draw,  12  picks.  In  designing  this  weave,  observe  the  following  rule:  The 
warp-thread  which  is  lowered  in  the  back  pick  must  be  raised  in  the  next  following  face  pick. 

Tricots  Forming  Rib-Effects  in  the  Direction  of  the  Warp. 

This  division  of  tricot  weaves  includes  an  endless  variety  of  effects  in  trouserings,  suitings, 
etc.,  both  in  wool  and  worsted  goods.  A  few  ends  of  the  regular  warp  twisted  over  with  organ- 
zine  silk,  or  a  few  fancy-colored  threads  of  worsted  wool  or  sewing  silk  spread  over  the  fabric 
(on  warp  ends  showing  on  the  face)  will  give  good  effects. 

Fig.  625,  8-harness  warp,  tricot  weave.  Repeat:  8-harness,  straight  draw,  4  picks.  Harness 
1,  3,  5  and  7  are  for  the  face,  and  hence  the  harness  where  the  fancy  end  has  to  be  drawn  on. 


aaa~:aaaj 
■  ■ 
■  ■ 

aa _ aaa  a 

"] 

a  aaa  .aa 

:     a  ■ 

■  !;!]□■□□□ 

aaa 
aa  aaaca 
a :  aaa~aa 
caaazaaa 

1  4 

■  aa  '  ■  '■ 

: .  ■  ■  aa  i  ■  aa 
mmm  m :,:_]  :;aaa  m  i 

■  it  a  a  ■      aaa  ] 
aa    b  a  aa    m  i 

l.  m  b  b a    b  b  aa 
aaa  a  ;  :  eaa  a  i 
ia_  aaa  a     .aaa  ; 

1  8 

Fig.  624. 

Fig.  625. 

[    a  a  aa 

aaa  aaaa 
aaa  a  i 

aaaaaaa  ] 

n    "B~B~Baa— a~— ""an  m  aaaaaa 

■aa  Ba    a      aaa  aa  a  bb    b  I 

a      aaa  a a    a     i  aaaaa  aa 

1  aaa  a      mm  aaa  c  a  a  bb 

1      a  a  aaa: a      a  :  aaa  aaaa 

iaa  aa    a    ;  aaa  a a  aaa  a  ) 

a      Baa  a a    a  aaaaaaa  : 


id  ianc_..BBB  3 

Fig.  626.  Fig.  627. 

Fig.  626,  12-harness  warp,  tricot  weave.  Repeat:  12-harness,  straight  draw,  4  picks.  Harness 
*>  3»  5-  7 1  9  an<^  1 1  are  for  the  face,  hence  for  the  fancy  ends. 

Sometimes  we  have  to  make  these  long  tricots  extra  heavy,  which  may  be  done  by  adding 
an  extra  backing  pick  every  alternate  pick.  Fig.  627  is  an  example.  Repeat:  8-harness,  straight 
draw,  8  picks. 

In  big.  628  a  specimen  of  a  tricot  weave  is  given  which  by  the  proper  arrange-  ■SbSbSb"""SbSbS 
ment  of  its  texture  produces  a  fabric  containing  a  considerable  amount  of  elasti-  5"is"s\5l35"5"B 

city,  in  fact,  a  fabric  very  closely  imitating  what  is  known  as  "  Jersey  cloth." 

As  mentioned,  it  is  not  upon  the  weave  alone  that  we  must  depend  for 
imparting  this  elasticity  to  the  fabric.    The  result  also,  follows  from  use  of  materials  for  the  yarns 


128 


of  the  proper  "counts"  and  quality  and  upon  their  arrangements.  The  following  dressing  must 
be  used  for  the  previously  given  design : 

2  threads  of  2-ply  cotton  (forming  after  finishing  the  body  of  the  fabric). 

2  threads  of  single  worsted  (forming  the  face  of  the  fabric  after  finishing). 

4  threads  in  pattern. 

The  fillings  to  be  fine,  soft,  single  worsted  (forming  the  back  in  the  fabric  after  weaving  and 
finishing). 

Both  kinds  of  warp  will  be  visible  on  the  face  after  weaving,  but  during  the  changes  the 
fabric  undergoes  in  finishing  the  cotton  warp  will  disappear  from  the  face,  taking  its  place  in  the 
body  of  the  fabric. 

These  fabrics  must  be  made  very  wide  in  the  loom.  Thus,  in  the  case  of  a  54-inch  finished 
fabric,  the  goods  must  be  woven  92  to  100  inches  wide  in  the  loom,  according  to  the  texture  and 
quality  of  the  material  used.  (Fabrics  made  with  weave  Fig.  628  require  the  selvages  to  be  sewed 
together  when  they  are  fulled.) 


Double  Cloth. 


Under  double  cloth  we  comprehend  the  combining  of  two  single  cloths  into  one  fabric. 
Each  one  of  these  two  single  cloths  is  constructed  with  its  own  system  of  warp  and  filling,  while 
the  combination  of  both  fabrics  is  effected  by  interlacing  some  of  the  warp-threads  of  the  one 
cloth  into  the  other  at  certain  intervals. 

The  objects  for  the  making  of  the  double  cloth  are  manifold.  Among  these  may  be  men- 
tioned: To  reduce  the  cost  of  production  for  heavy-weight  fabrics  by  using  cheaper  material  for 
the  cloth  forming  the  back;  to  increase  the  strength  of  certain  grades  of  fabrics;  to  increase  the 
bulk  of  a  fabric;  to  produce  double-faced  fabrics;  to  produce  fancy  effects  by  the  system  of  com- 
bining or  exchanging  both  single  cloths. 

As  mentioned  before,  a  separate  warp  and  filling  is  required  for  each  cloth,  and  so  likewise 
*  in  preparing  the  design  a  separate  dealing  with  each  is  required. 

In  diagram  Fig.  629^  the  section  of  two  single-cloth  fabrics  is  shown. 


Fig.  629a. 


Fig.  629^. 


In  Diagram  Fig.  629^  the  plan  of  two  single-cloth  fabrics,  situated  above  each  other,  is 
shown.  Warp-threads  2  and  4  and  picks  1  and  3  form  one  cloth  (shown  shaded),  while  warp- 
threads  1  and  3  and  picks  2  and  4  form  the  other  (illustrated  in  outlined  threads). 

Examining  the  section,  Fig.  629*2,  and  the  plan  of  interlacing,  Fig.  629^,  it  is  found  that  each 
warp-thread  interlaces  with  its  own  system  of  filling,  and  thus  each  cloth  is  formed  independent 
of  the  other.  These  are,  with  a  few  exceptions,  such  as  seamless  bags,  etc.,  stitched  (or  combined) 
together  so  as  to  form  one  fabric. 

The  proportion  of  face  warp  and  face  filling  to  back  warp  and  back  filling  to  be  used  may  be 
as  1  end  face  to  1  end  back,  or  2  ends  face  to  1  end  back,  or  2  ends  face  to  2  ends  back,  or  3  ends 
face  to  1  end  back,  etc.,  etc. 

One  proportion  for  the  two  kinds  of  warp  and  a  different  proportion  for  the  two  kinds  of 
filling  may  also  be  used,  for  example: 

Warp  /  2  ends  face  =  2A  face'  FillinoJ  1  Pick  face  =  #  face' 

I  I  end  back  =      back,  to  I  1  pick  back  =  y2  back, 

3  ends  in  repeat.  2  picks  in  repeat,  etc.,  etc. 

As  mentioned  before,  the  stitching  has  to  bind  these  two  single-cloth  fabrics  together,  in  fact, 
to  unite  the  same  into  one  fabric.  The  warp  of  the  bottom  fabric  may  have  to  bind  into  the  face 
fabric,  or  the  face  warp  into  the  bottom  fabric.  In  both  cases  the  warp  of  the  one  has  to  inter- 
weave more  or  less  with  the  filling  of  the  other. 

(129) 


130 


In  fabrics  where  each  side  is  of  a  different  color,  and  the  color  of  the  face  fabric  shall 
not  disturb  the  back,  nor  the  color  of  the  back  cloth  the  face,  great  care  must  be  exercised  in 
the  manner  of  combining  both  cloths.  For  this  purpose  we  must  select  for  binding,  points  where 
warp  and  filling  interlace  less  frequently,  as  this  will  reduce  the  chances  of  the  thread  used  for 
interlacing  on  one  cloth  showing  upon  the  other. 

The  binding  of  both  cloths  into  one  fabric  also  has  an  influence  with  regard  to  the  feel 
(handling)  of  the  fabric,  for  the  oftener  we  combine  (stitch)  a  certain  number  of  ends  of  warp 
and  filling  the  harder  and  firmer  the  fabric  will  feel;  again,  if  not  sufficient  stitching  is  used  the 
fabric  produced  will  be  loose  or  spongy. 

The  amount  of  binding  for  both  cloths  can  only  be  learned  through  practical  experience,  yet 
the  rules  for  binding  are  the  same  for  wide  as  well  as  close-stitched  fabrics. 

Rules  for  Designing  the  Present  System  of  Double  Cloth. 

i  st.  Indicate  the  back  warp  and  back  filling  on  your  squared  designing  paper.  (At  your  first  few  exer- 
cises stripe  off  these  threads  with  a  light  color  so  as  to  readily  distinguish  one  from  the  others.)  , 

2d,  Put  the  zveave  for  the  face  cloth  upon  its  own  system  of  threads  (omitting  every  backing  thread 
as  if  it  were  not  in  the  design). 

^d.    Put  the  weave  for  the  lower  cloth  (back  cloth)  upon  its  own  system  of  threads. 

4t/i.    Raise  all  the  face  warp  on  every  backing  pick. 

$th.    Combine  both  single  clotJis,  thus  far  constructed  separately \  into  one  fabric. 

Observe  the  following  rules  in  combining:  The  places  for  combining  both  fabrics  must 
be  distributed  as  regularly  as  possible  over  the  entire  fabric.  Select  the  amount  of  binding  for 
the  two  cloths  according  to  the  character  of  the  fabric  the  weave  is  designed  for. 

In  combining  the  two  fabrics  by  raising  the  back  warp  over  the  face  filling  at  certain  places, 
divide  the  arrangement  as  equally  as  possible  for  each  backing  thread.  If  in  certain  weaves  every 
backing  warp-thread  cannot  be  used,  arrange  the  omission  of  threads  uniformly,  such  as  every 
other  or  every  third  thread,  etc. 

In  combining  the  two  fabrics  through  certain  face  warp-threads  resting  in  the  lower  shed  of 
the  backing  pick,  observe  the  rules  given  for  the  back  warp. 

In  using  the  back  warp  for  binding  in  the  face  cloth  (as  is  generally  done)  the  back  warp- 
thread  must  be  arranged  to  rise  at  places  where  the  face  warp-thread,  situated  on  each  side  nearest 
to  it,  rises  at  the  same  time. 

It  is  advisable  to  have  the  raising  of  the  back  warp  into  the  face  fabric  arranged  to  occur 
immediately  before,  or  right  after,  the  same  back  warp-threads  have  been  or  are  to  be  raised  by 
the  weave  in  the  backing  cloth. 

In  using  the  face  warp  for  binding  in  the  lower  cloth,  select  for  points  of  stitching  spots 
(sinkers)  in  which  the  warp-thread  is  down  in  the  two  adjacent  face  picks. 

Be  careful  not  to  disturb  the  general  effect  of  the  face  cloth  by  arranging  perfect  points  of 

combinings,  but  in  wrong  places„    For  example:  Take  the  rz  4-harness  twill  for  face-weave. 

Suppose  one  repeat  of  the  back  fabric  requires  two  repeats  of  the  face-weave.  Requiring  a 
smooth  face,  and  one  face  twill  to  show  as  prominently  as  the  other,  the  stitching  must  be 
arranged  alternately  for  each  face  twill,  because  by  continuing  to  use  only  the  one  repeat  of  a 
twill  in  rotation,  this  twill  will  show  more  prominently  than  the  other. 

To  thoroughly  understand  the  foregoing  rules  for  designing  double  cloth,  a  study  of  Figs. 
630,  631,  632,  633,  634,  635,  636  and  637  is  advised.  They  represent  both  weaves  for  the  single 
cloths  and  their  principle  of  combining  until  the  weave  for  the  double  cloth  is  perfected.  Each 
rule  is  illustrated  in  successive  rotation  as  laid  down. 

Fig.  630  illustrates  the  4-harness  (e)  twill  -  rz,  designed  for  4  repeats,  warp  and  filling 

ways;  hence  for  16  warp-threads  and  16  picks. 


131 


Fig.  631  is  the  plain  weave  for  8  warp-threads  and  8  picks. 
Fig.  632  represents  one  repeat  of  the  8-harness  satin,  filling  face. 

In  giving  our  rules  for  designing  double  cloth  rule  1  calls  for  the  indication  of  the  two 
single-cloth  fabrics,  as  each  must  be  treated  separately  from  the  other. 

Fig.  633,  which  is  designed  for  illustrating  the  present  rule,  explains  itself  as  "  two  ends  for 
the  one  single  cloth  to  alternate  with  one  end  from  the  other,  warp  and  filling  ways."  This 
will  equal,  in  the  present  example,  2  ends  face  to  alternate  with  one  end  back. 


□  a  a  a  i 
1  a  3  3  n 

B!  3   3  3 
.  3   3   3  3 

nrm~rr><  nnnr  t ;  -  t  v~n  r  <~r, 
t  n  :t  1  :i  >i  ii  ;t  ii  ,1  11  ,i  ii  ;i  ;i  1  n  ,  i  1  i!  !i 

m  1  .1  i  mmmmmm;  mim  n ;[  t  m;  . 

1  MM'  i  :      Ml      M.      1        Mf  MM!  • 

HO 
■I 

1  a 

■i  i 

J4rt ,r 
\  H 11 
(  1  ■ 

1 

SM1 1  ,1  1 

."  BPI 

1 

■1 

B 

r  ■  ■ 

3    3   3  3 
C  3   3   3  3 
1B_B_BMBJ 
1  8 

Fig.  631. 

□1 

B 

BB 

1 

IB 

■ 

B 

B 

■■ 

■■□ 

■□□ 

L  ■ 

1 

■1 
■■ 
■ 

IB  ■ 
1  ■■ 
■  ■ 

)■■□ 
IB 

■ 

■  ■  ■ 

□i 
□1 

mm 
mo 
■□ 

t  !  ii  i  ii  :i  ,i  »  1 
BB 

■  ■  L 

B 

B 

BB 

□i 
□1 

1 

BMI 
■ 

! 

■    "  } 

Bl  ■  ii 

■ 

B 

■  fl 

□■■ 

UUML 

■ 

IB 

BBU 

Hi 
□i 
□i 

■I 

mm 

■  1 

\: 

□□■ 

■□ 
PS 
sm 

■ 

l 

■ 

IB 

BB  J 

\     Si  J 

□□□□□BCD 

BapoaDDD 
□ttracocD 

1  8 

□I 

■BC 

II  i  BB 

1  I 

IB 

B 

B 

1  B 

■■ 

■  1 

■ 

■  ■ 

B 
BB 
BB 

■□□ 
□CB 

□i 
Hi 
□i 
□i 

1 

■H 

OWL 
■«f 
1  1  ■ 

■  I  I 

■  c 

B  B 

B  I 

1  i 

fl 

B 

B  ■ 

1 

■□ 
■□ 
1  ID 

IB' 

B 

BB 

■  I 

B 

BB 
B 

B 

BB 

b  r 

1 

.  BB 

□□■ 

IS 

mo 

■  B 

Fig.  630. 

Fig.  632. 

Fig.  633. 

Fig.  634 

Fig.  634  illustrates  the  application  of  the  second  rule  as  given:  "  Put  weave  for  the  face 
cloth  upon  its  own  system  of  threads!'  In  this  example  the  4-harness  twill  shown  in  Fig.  630  is 
applied  for  face-weave  to  the  plan  "  2  face  1  back." 

Fig.  635  illustrates  the  succeeding  rule  (3d)  as  applied  to  example,  Fig.  634.  uPut  the  weave 
for  the'  lozver fabric  upon  its  own  sy 'stems  of  threads The  weave  selected  for  this  example  is  the 
one  shown  in  Fig.  63 1  (common  plain).  The  next  rule  (4th)  calls  for  the  raising  of  the  face  warp 
on  every  backing  pick.  This  is  illustrated  in  Fig.  636.  These  four  rules,  as  observed  thus  far 
and  illustrated  in  Fig.  636,  produce  two  separately  constructed  fabrics.  Two-thirds  of  the  number 
of  warp  and  filling-threads  form  the  face  cloth,  and  the  remaining  one-third  of  warp  and  filling 
form  the  lower  cloth.  Rule  5  calls  for  the  combining  of  these  separately  constructed  fabrics, 
either  by  using  the  back  warp  for  interlacing  with  the  face  filling  or  the  face  warp  with  the  back 
filling.    The  first  mentioned  method  is  used  in  the  present  example. 


n-B"B'""'^BMB-|     BMB-PPBrB  21     ■  B:  a        B    fl         B    B  BB 

3  3  3  3  I  ;-:  .:  i:  3  3  3>       i  3X 


BB           BB        :  BB           II     I  I     BB  BB  BB  i  BB  ;   Mi  BB  ■■        '  BB: 

BB        I    I         B  B         B'BMG  BB        BB        B    9        B   B   i-  1  BB        B-I-B         ■    ■        B  B 

3         3         3  3       i  :-:b:  .:       3  :       b         3  :  3         b:         b:  . 

I           BB           BB  :  IliPGNI  B  BB        :  II  BB  B  B  BB        :  BB        '  BB  B 

BB        BB  BB         BB  BBBB        BBBI  BBBB        BvB         B  B 

3              3  3              BM  3  3  3  i  3  i  B.-.i  3  3  3M 

bb        «■  mm        mm  ■  mm        mm  "T'DHBIHDGPBBPG  bb        bb        bb  ■■ 

BBBB        B  B         B    a  B:  B        BBBB        B    B  BvB        B   B.  /  .  B   B,  ;     B   B  I 

•  b         3         b  b       i  :  b:  ••.  .  :  .3.  i    ••  b         b  :-:b:-..-:  ._,^b. >   a.-..-,  -a 

m           BU           BB  '  BB        i  B  I  II  BB  BB  B 

BB        BB  BB        BB  BB        BB         BB        B  B 

a         a  i :  a         bm  a         a:         a;  a 

BB           BB  BB           BB  BB  BB         '  BB  BB 

B   B        B   fl         B  ■   i  ■   m   m  'M  |M|   III  ■■:■'■ 


■    fl         II    l      II         flfl  ■    ■         ■■         ■■  B  B 

f  ■       3'  : B.  '■     :  MB          .:  3  1  MBi-M         Bi-ii          3  ii-iBi-; 

BB        '  BB           ■■           BB     J                           '  ■■         r  BB  BB  BB 

B  B         B  I         B  I    i      fl:  fl 


:  i  !•  bm  •  :•  i-  Bi-  :■  a:-.: ■:■  :■  ■  b:  :• ;  :•: 
s_..i  m  iiu  ■■        ■■  .__ i  ■■  ■ 

24  1  24 


Fig.  635.  Fig.  636. 


B 

B 

: 

1  mm 

■    i  i;  BvB    I      B  B 

Bfl"      !  flfl^ 

■m      mrm      m_m  ; 

1  ■■ 

mrm      m±m  :  . 

Fig.  637. 

Fig-  ^37-  The  arrangement  for  combining  (stitching)  is  after  the  principle  of  the  8-harness 
satin  shown  in  fig.  632. 

In  designs  Figs.  630  to  637  the  character  of  type  used  for  each  figure  is  as  follows : 

■  indicates  the  weave  for  face  cloth. 
e  indicates  the  weave  for  back  cloth. 

a  indicates  the  arrangement  for  combining  both  cloths  for  the  double  cloth. 

■  indicates  the  back  warp  and  filling-threads  from  face  system. 
b  indicates  the  raising  of  the  face  warp  on  the  backing  pick. 


132 


The  next  thing  to  be  studied  is  the  relation  of  the  warp  to  the  filling  and  the  weave. 
If  both  cloths  (face  and  back)  are  equal  in  every  respect  (quality  of  stock,  counts  of  yarn, 
proportion  of  warp  and  filling  and  its  arrangement,  and  weave  used  for  the  face  and  back- 
cloth)  no  difficulties  need  be  experienced  in  designing  the  same.  But  on  the  other  hand, 
if  any  of  these  points,  as  mentioned,  differ  in  one  cloth  from  the  other,  great  care  must  be 
exercised. 

We  will  next  proceed  to  give  a  few  examples  of  different  kinds  of  double  cloth;  also  com- 
plete explanations  of  them  from  their  foundation  to  the  complete  weave. 

In  the  following  examples,  Fig.  638  to  Fig.  688,  the  different  characters  of  type  used  give 
the  following  indications: 

■  =  the  weave  for  the  face-cloth, 
a  =  the  weave  for  the  back-cloth. 


u 


"rt      Ba  =  the  stitching  of  both  fabrics,  back-warp  into  face  filling. 

h  =  the  raising  of  face-warp  on  backing  picks,  as  required  for  forming  the  lower  cloth. 
Sinkers:  r  =  the  stitching  of  both  fabrics,  face -warp  into  the  back  filling. 

A.  Double-Cloth  Weaves  having  for  their  Arrangement  One  End  Face  to  Alternate  with 

One  End  Back  in  Warp  and  Filling. 

This  system  of  double  cloth  is  mostly  used  in  fabrics  in  which  the  quality,  size  and  weave  of 
the  two  cloths  (face  and  back)  is  nearly,  if  not  entirely  equal,  as  in  reversible  overcoating,  etc. 

ICHBHBHnHnHBHDHnHH 

■*■    1  !«!■:■□□□□□■□ 

a  a  a  a  ;a  a  a  a  i 
■         ■  ■  ■ 

a  a  a  ia1  a  ananaM 
: .  ■  ■    r.    a  1 

a  a  a  a  a  a  a  a  ] 

■  !  !!  B  I'I'B  !  ]□ 

sBBCMnna                        sbbi    icdb                       moaoo'joo  a  a  a  a  a  a  a  an 

cocdqddbb  ■ ■  ■*■  ■  . 

(  na                                   duiddiii                         □□□□□□an  ana:  a  a  a  a  a  an 

[       ■■■                                                                  □□□□□sen  ■      ■  u*m  ai 

■□□bbbcd                        □□□□anon  a      a  a  a  a  a  an 

□□■»■□□■  □□□snnnn  ! :  ■<:  ■ 

□bbbddbd                         □□fflDDDna  a  ar  ia  a  a  a  a  a  : 

3  !BBBGDBi3n  iDfflDDCOCD  iBUBSiBCDCDnBCBnnn 

18  18  18  1  16 

Fig.  638.  Fig.  639.  Fig.  640.  Fig.  641. 

Fig  638  represents  the  weave  for  face  (8-harness  fancy-twill). 
Fig.  639  represents  the  weave  for  back  (— g — — -z  8-harness  twill). 

Fig.  640  represents  the  arrangement  for  combining  both  cloths  through  the  back-warp,  inter- 
lacing with  the  face  filling  Q  ?  8-harness  twill). 

Fig.  641  is  a  complete  double-cloth  weave,  constructed  out  of  Figs.  638,  639  and  640. 
Repeat:  16  warp-threads  and  16  picks. 

leanapanaganaBanaB  loanaBanaianaB^nan 

n  ■              ■      ■  □□■□□^■:r~ 

a  =a  :a ^a  a  ia  a  a  H<H:a^:-r.BMa  anan 

■  vi.fla.j:]  ■      ■      ■  ;  .  ■  1  n 

a  banana  ia  a  ia  a  i  a  ia  a  ;a  a  :a  an 

DDifflD.]!..  inannnan  come:  a      a      a  j 

a  .a  a  ia  a  a  a-  .a  ,  anana  ;a.a      a  a.-] 

b      ■      a 'i'.    a  a      a      a    j  ■  i 

sanananaaana-anan              a  a  a  a  a  a  a  a  s  a  a      a  a  a  a  a  1 

i  ;i   .  ■  ■  :  '            ]               i    ■      ■      ■      a*  a      a      a ,    ■  ] 

ai  a  ;ai  !B  ia  a  .a  ia  i               a  ;a  ^a  :a  ai  ia  a  ia  j  a  ia  a  a  a  ia  a  ] 

r   jUiaiL'u    :  ■  ■                ■□□□■^□□■□□□■□□a  ■      ■      ■      a    .  j 

daaaanoa              a  a  a  a  a  a  .a  a                a  a  izi  a         .a  an  a  a  :a  a  rn  a-  a  a  1 

□nfflncDca              ■□■□□□□□■E3»rnnnna              [:.■;;  ■      ■*    ■  ■      ■      ■  .  ,nn 

■■  !  ]               □□□□saaa               a      a  a  .a  a  a  a  :               a-  jb  :a  ia  a  a  z-y  ia  ]  a  vs.  as  :a  a-  ia  as  ian 

lfflaoaaaaa             ia&m  ■  ■  .  )□□  i             iBannannnannnannn  !■□□□■□□□■□□[!■□□□ 

14  18  1  16  1  16  l  16 

Fig.  642.  Fig.  643.  Fig.  644.  Fi     645.  Fig.  646. 

Another  example  illustrating  double  cloth  constructed  "one  face,  one  back"  in  warp  and 
filling,  is  shown  in  weave  Fig.  644.  It  contains  the  common  4-harness  basket,  illustrated  sep- 
arately in  Fig.  642,  for  its  face  and  back  weave. 

The  method  of  interlacing  observed  is  the  stitching  of  the  back-warp  into  the  face-cloth,  as 
shown  by  a  for  raisers  in  the  full  design,  as  well  as  in  the  extra  plan  Fig.  643. 


133 


Weave  Fig.  645  illustrates  the  combining  of  two  plain  woven  cloths  into  one  fabric  by  bind- 
ing the  back-warp  into  the  face-cloth.  It  will  be  seen  that  the  points  where  the  back-cloth 
interlaces  into  the  face  will  show  on  the  surface,  but  as  only  one  thread  raises  at  a  time  in  a 
plain  weave,  the  required  points  in  Rule  5  (*.  e.  to  have  for  the  intersection  of  the  back-warp  with 
the  face-cloth,  a  place  where  the  face  warp-threads  on  each  side  nearest  to  the  back  warp-thread 
raise  at  the  same  time)  can  never  be  found,  and  we  must  use  the  weave  as  mentioned  above,  or 
as  to  whichever  side  of  the  fabric  is  required  to  be  the  clearest,  we  may  use  the  arrangement  of 
the  "  double  plain,"  as  shown  in  weave  Fig.  646.  In  this  the  face  is  arranged  to  bind  the  lower 
fabric  as  indicated  by  h  for  sinkers.  The  raising  of  the  back-warp  in  the  face-cloth  in  weave 
Fig.  645,  as  well  as  the  lowering  of  the  face-warp  in  the  lower  cloth,  as  in  Fig.  646,  are  arranged 


1::  g  a  a  g  ig  hi  01 

■              B    O  ■  I 

G  g:  h  H  G  g  G  "G  1 

■  ■  ■<:<■  I 

G   G   G    G    G    G  Gl  !G  J 

■  SB  .           ■  ■  I 

G   G  !G   G   G^G  G   Gi  I 

mamamama                        saaamaaaa                         g;  ig  g  g  g>  ig  gi  Ig  j 

■■    bb                         □■□■□■□a                         □□□□□□so                         ■  mm 

mm    mm  .                          samamawa                          □aananm                          g  g  ig  g  g  g  g  k  i 

■■    ■■                              t  1  ill  ■□■                                                                   n      umm  m  m  i 

■    ■■    ■                           1             i                           □□□□□□□a                           G  g  g  g  g  g  :•:  g  ) 
mm    mm                           □bdsgbdb                           □□anaaoa                              ■  ■  b*b 

■■    mm  j                         bgb  mama                         □□□□□bod                         g  g  g  g  g  g  g  g-  1 
igbcbgsgb                          iBaaaGaaa                          mam         a  m 

1                    *                                             1                    H                                             18                                             1  1<5 

Fig.  647.  Fig.  648.  Fig.  649.  Fig.  650. 


after  the  8-harness  satin  (filling  face).  In  the  present  examples,  Figs.  645  and  646,  the  question 
may  arise  as  to  which  method  should  be  preferred  ? 

Taken  in  the  general  average  of  fabrics  constructed  on  this  double  plain  weave,  or  similar 
weaves,  in  which  only  single  threads  raise  at  a  time,  such  as  filling-face  satins,  etc.,  the  preference 
should  be  given  in  favor  of  the  first  named  weave. 

Repeat  of  designs  645  and  646  is  :  16  warp-threads  and  16  picks. 

Another  example  of  this  system  of  double  cloth  is  shown  in  Figs.  647  to  650. 

Fig.  647  represents  the  face-weave. 

Fig.  648  represents  the  weave  for  the  lower  fabric. 

Fig.  649  illustrates  the  method  of  binding  both  cloths  into  one  fabric. 


K'G  G  IG  GnG  G  !G  BB 

;^  ■•:•■      ■  ■ 

■nn ^mr uaaaaaaama 

IQHGDQBQDQB 


sn^mm'-  mm  , 
m  mm  .  .  m 
m  ■■  ■ 
l  mm  mm 

■  ■  19 

1  8 

Fig.  651. 


cm  ,1  -l  1 
bi.jii  ;i  1  mj 
amzMimam 

BGB."M.1:B_: 

l  w  ]i )  \<%.  ,m 

iBGBDBGBa 

Fig.  652. 


8CDHCinnCD 

□□□□□□□a 
□□□□anna 

□□□□□□aa 

anaanraG 

lDDDDGBaD 


Fig.  653. 


G 


G  G  G 
□□■BBC 

G  G  G 

□   ■  ■ 

G  IG  Gl 

C:     ,  ' 

G  G  IG 
■  SB 

G  iG  G 


iG  ] 
,  1  1 
G  ! 


G  G  IG  1 
■  SB 

10 


Fig.  654. 


Fig.  650  shows  the  complete  design. 

Repeat :  16  warp-threads  and  16  picks.  Face-weave  is  the  2 —  ~2  4-harness  twill ;  back-weave 
is  the  plain. 

The  stitching  of  the  back  into  the  face-cloth  is  arranged  after  the  8-harness  satin, 
filling  up. 

Weaves  Figs.  65 1  to  654  illustrate  the  combining  of  an  8-harness  "  granite-weave  "  with  the 
plain  weave  for  double  cloth,  each  taken  alternately,  warp  and  filling  ways. 
Fig.  65 1  illustrates  the  granite-weave  (8-harness)  to  be  used  for  the  face. 
Fig.  652  is  the  plain  weave  to  be  used  for  the  back  of  the  double  cloth. 

Fig.  654  shows  the  complete  double-cloth  weave  derived  by  combining  both  cloths  with  the 
8-harness  satin,  Fig.  653,  using  the  back- warp  for  binding  into  the  face-cloth. 


134 

Double  Cloth  Composed  with  Different  Proportions  of  Face  and  Back-threads. 

B.  Warp  :  r  end  face  to  alternate  with  i  end  back. 
Filling:  2  ends  face  to  alternate  with  1  end  back. 

In  this  manner  weave  655  is  constructed.    Repeat:  16  warp-threads  and  12  picks.  Weave 

^■□□□□□■□■□□□□□■ffl 

a  a  a  a  a  a  a  a  i 
■  ■ 

■  ■  : 

a  a  a  a  a  a  a  a  <*□□□□'"  ODa 

a  a  a  a  -a  a  a  a  BnaaGaaa 

■   ■  BSBJ  4nD.BDD.QDIl  DDDaDDDD 

D  ■   ■       1  GGBBDGBB  ■DDDDBDD  GDDQQQfBG 

a  a  a  a  a  a  a  .a  ]  gbbggbbg  ddd@ddbd  qebgqgqqd 

iBDBL_  ...  __BSB   _.GJ!  J  1BBDDBB_jD  'DSDDBDDD  iDDDDEDDD 

1  16  18  is  la 

Fig.  655.  Fig.  656.  Fig.  657.  Fig.  658. 

for  face-cloth  is  the  4-harness  2  twill,  Fig.  656.  Weave  for  the  back-cloth  is  illustrated  sepa- 
rately (same  kind  of  type  as  used  in  complete  weave)  in  Fig.  657. 

The  combining  of  both  cloths  is  effected  by  the  8-harness  satin,  Fig,  658. 

C.  Warp :  2  ends  face  to  alternate  with  1  end  back. 
Filling:  1  end  face  to  alternate  with  1  end  back. 

Designing  a  double-cloth  weave  under  this  proportion  is  illustrated  by  weave  Fig.  659. 
Repeat :  6  warp-threads  and  8  picks.  Weave  for  face-cloth  is  the  4-harness  -  ^  twill  (Fig.  660). 

BDDDDBBDDDDB 

as  aa  aai  ^aa  a 

□  .  . 

a  a::  a  a  a  a  a 

DDBBDDDDBBDD 

BBHHDHQBHHDQ 
BffiBDDDBSBDDD 
eQDHHBHHDGHlia 
BDDGDBBDDDDB 

a:  a  a  a  at  a  a  a 

.  MS*M 

a  aa  a  a  aa  a  4bddb  4dsdb  4nnnn 

■■     .      BB     ;  DDBB  BDBD  i 

a  aa  aa?=aa  .a  dbbd  dbdb 

IBffiBDDDBfflBDDD  1""C:i4l  ^o1^0  ifflDHD 

Fig.  659.  Fig.  660.  Fig.  661.  Fig.  662. 

The  back-cloth  is  worked  on  plain,  as  represented  in  Fig.  661,  and  the  combining  is  effected 
by  the  back-warp  in  the  face-cloth  raising  every  other  back  warp-thread  on  every  other  face-pick 
(Fig.  662). 

The  next  arrangement  for  double  cloth  is — 

D.  Warp  and  filling:  2  ends  face  to  alternate  with  1  end  back. 

This  proportion  for  using  face-threads  to  backing-threads  in  warp  and  filling  has  been  repre- 
sented before,  in  the  examples  given  for  illustrating  the  rules  for  designing  double  cloth.  At 
present  this  system  of  using  face  to  back-threads  is  mentioned  in  its  proper  place  under  the  head- 
ing of  "  Different  Proportions  of  Face  and  Back  in  Double  Cloth." 

12DDDBB3BDDBBDD 

a  aa;  a  a  a  a  a 

B      B    B  B 

BDBGDDBfBBDOB 

a  aa  aanaai  a  sgdbbdbbd 

BGBDDBBDBDDD  BDBBDi.  IDB 

DDDDDBBDOBEBB  BBDDBBDB 

a  aa  aaiaana  bbdbbbdd 

:     BB  B   B  DDDBBDBB 

IDBDDG  DBBDDDBB 


a.  aai  aa  aa  a  bbbgbbgg  bgdh  aaaa 

1 bdbdddbdbbdg  1bbddbbbd  1sddd 

Fig.  663.  Fig.  664.  Fig.  665.  Fig.  666. 

Fig.  663  represents  the  combination  in  double  cloth  of  weave  Fig.  664  used  for  the  face,  and 
weave  Fig.  665  that  used  for  the  back.  Both  cloths  are  combined  into  one  fabric  after  the  motive 
of  the  1  3  4-harness  twill  (Fig.  666).  Repeat  of  weave  Fig.  663  :  12  warp-threads  and  12  picks. 


135 


Weave  Fig;.  667  illustrates  the  combination  of  the  3  ;  4-harness  broken-twill  (Fig.  668)  for 

the  face-cloth  and  the  3  r  4-harness  common  twill  for  the  lower  cloth  (Fig.  669).    Both  cloths 

are  combined  by  motive,  Fig.  670  (plain). 

Repeat  of  the  double-cloth  weave:  12  warp-threads  and  12  picks. 

j-isinniisinai 

a  :aa  aa  aa  a 
r  ■■    ■  ■■ 

■  m:m 

a  a  a  iaa  iaa  a 

I      II    B       ■■  ■ 

q*.hb  aa  'aa  a 

■  :  ■     ■■  UK     ■  IB 

■  ■via  a  a 

a  iaa  aa  aa  a  ■  «■  a  * 

JUBB-jB  1GBBB  i    *  a 

I  H  14  14  1  i 

Fig.  657.  Fig.  668.  Fig.  669.  Fig.  670. 

This  character  of  the  double  cloth  (2  threads  face  to  alternate  with  1  thread  back)  is  that 
most  frequently  used  in  the  manufacture  of  worsted  and  woolen  goods.  In  designing  double 
cloth  by  this  arrangement  for  4-harness  basket  or  similar  weaves,  as  also  combination  weaves  of 
basket  and  twill  effects,  etc.,  always  remember  that  the  back-warp  must  be  arranged  to  work  in  the 
centre  of  the  two  face  warp-threads  working  alike,  as  this  gives  us  the  only  chance  for  properly 
binding  back  to  face.    For  example  : 

""a  a  b*b    '  m  'B 

a  aa  aa  aa  aa  aa  aa  aa  ia 

mm      a  a  am  mm 

a  ■      a*B       ■  a  mm 

a  a  a  a  a  a  a  a  a  a  a  aa;  a  a  a 

B  B        ■   B         B   B        B  B 

mm      ma      am  w-:-m 

a  aa-  aa  aa  a  a  aa  aa  aa  a 

H   B        ■   a        ■  ■        ■  B 
B    B     .    B   ■         I'M        B  B 

a  ,aa  a  a  a  a  a  a  a  a  a  a  a  a  a 

B   B        B   B     '    B   B         B  B 

BvB        B    B         B   B        B  B 

a  a  a  a  a  a  a  aa  aa  aa__aa> 
a  a      b  a      a  b  b*b 

a  aa  aa  aa  a  a  aa  aa.  aa  a  snnBBnnBB  snanBCBna  f  a 

B  IB        B    B         B   B        B  H  .'  '  J  BBMI1BB 

f  i    a  a      bob      a  a  a  a  bb    bb  □□□□□□□s 

a  aa  aa  aa  a  a  aa  aa  a  a  a  ■■□□bb  t  =  ,-  i  ;  :  ,< .  1  □□□□anna 

a  b      a  a      a  a  a  a  aa    bb  «□■  :  a 

a  :-a      a  a       a  a      a  a    ,u  ■■    bb  '   ;h  ;m  i  v  i  □□□□□□ebg 

a  aa  aa  aa  aa  aa  aa  aa  a  bb    bb  ■  ■  \   1  n  ,m  a 

:a   a        B  B        B   B         B_BuLnJ  !■■□□■■□□  !«□■□■□■□  1SQQQDDDD 

1  1:4  i  8  18  18 

Fig.  671.  Fig.  672.  Fig.  673.  Fig.  674. 

Fig.  671  illustrates  the  weave  for  a  double-cloth  fabric,  which  has  for  its  face  the  4-harness 
basket  (arranged  as  previously  mentioned).  It  has  the  common  plain  weave  for  the  backing,  and 
the  stitching  is  done  with  the  8-harness  satin. 

Fig.  672,  the  face  weave.    Fig.  673,  the  back  weave.    Fig.  674,  the  stitching. 

Repeat  of  weave  Fig.  671  :  24  warp-threads  and  24  picks. 

The  next  arrangement  of  proportional  face  and  back  for  warp  and  filling  is  : 

E.    2  ends  face  to  alternate  with  2  ends  back  in  both  systems  of  threads. 
This  method  is  illustrated  in  Fig.  675  which  is  composed  of  the  8-harness  twill  -  5  for  face 


□□□  jaoi 
a  ;  aa 
a    a  a 
□□□□■□: 

BB* 

a  i  a  a 
a  a  a 
b    mm  e 


muaaa 

a  a  a 

a  a  j  a 

3B 

:□□□□□ 
a  a  a 
iaa  a 

]□□□□□ 

16 


Fig.  675. 


:  BBBB 
(  :□   BBBB'  1 
BBBB1  !'  1 
1  BBBB 

1BBBBQJGQ 


Fig.  676. 


□  MGM  t-1 
I  i  :  i  J  !G<3_~J 

[  m.  it '  n  1 1 

□u:j.  >  1 


Fig.  677. 


;  !&  !. 

□□□□□□ho 
□□□□□□□h 
. .  .  ;a  ! 

□□□□□EGG 

a       .  j 

inn  ]H  1  j 


Fig.  678. 


and  the  common  plain  weave  for  back-cloth.  Both  cloths  are  combined  with  the  weave  repre- 
sented in  Fig.  678. 

Fig.  676  shows  the  face-weave.  Fig.  677  shows  the  back.  Repeat  of  the  double  cloth  :  16 
warp-threads  and  16  picks. 


136 


F  Warp:  2  ends  face  to  exchange  with  2  ends  back.    Filling:  2  picks  face  to  exchange 

with  1  backing. 

These  are  used  to  a  great  extent  in  arranging  63 0  steep  twills  (diagonals)  for  double  cloth. 
Figs.  679,  680,  681  and  682,  illustrate  such  a  case. 

Fig.  680  represents  a  diagonal  on  6-harness  and  12  picks  repeat,  as  used  for  face. 
Fig.  681  shows  the  common  plain  as  used  for  back. 

^□□□■■nnnBCDH 

□  K3H  iaa  >  ia 
□□  ■■      ■  *b 

■  ?_tj  r.  j:  !■  i 
a  1  ;aa  i  :aa  a 

□  ):  :■  ■■ 


a  i  .aa  \  a  a  i  a 

l:  ;  ■■  ■ 

■  ■  ■■  1  1  i 
a    laa    iaa :  a 

■  *b  :  ■■ 

a      ■  ■ 

a    aa  ;  aa  i  a 


Fig.  679. 


12  mm 

■  !■■.  '■ 
■  ■   ■  J 


Fig.  680. 


<□§□§□! 

ananaa 


Fig.  681. 


□□□□□□ 
□nnaco 
□□□□□□ 

1  6 

Fig.  682. 


Fig.  679  illustrates  the  complete  double-cloth  weave,  12  warp-threads  and  18  picks  repeat. 
The  combining  of  face  and  back  cloth  is  shown  separately  in  Fig.  682. 


G.    j  ends  face  to  exchange  with  1  end  back  in  warp  and  the  filling. 

These  are  illustrated  in  one  example  by  weaves,  Figs.  683  to  686. 
Fig.  684  represents  a  12-harness  fancy  twill  to  be  used  for  face-weave. 
Fig.  685  shows  the  common  plain  to  be  used  for  backing  weave. 

Both  cloths  are  combined  into  one  fabric  with  the  1  3  4-harness  twill  shown  in  Fig.  686. 

Repeat  of  double-cloth  weave,  Fig.  683  :  16  warp-threads  and  16  picks. 


^■■□□□□□■□■□■□□□B 

a  a  ;aaa  aaa  aaa  a 

■     ■■■  :  ■■  ■  BB3B 

r:..;:  :■■    a .  .  :jmm  a 

□□□BDBDBQIDBBBCO 

aa  iaaa:  aaa  aaa  a 

BBZQBBOB.  1BE3BB  B 

■□□BmDDBBGBB  1  B 

□■□BLODBBBLJLTJ!  ILLB 

aa  aaa  aaa  aaa  a 

BB   B  B-I-BB      BBB  i  J 

□□□□BBDBDnCBBDDB 

□□□BBBnaanDBnBDB 

aa  aaa  aaa  aaa  a 

□BfflBB-jaBBB'jnBBaB 


Fig.  683. 


1   III   ■■■  II 

□□BB   B  BBB 

□□BlJBBGGBBBU 
■I   III   BBB  B 

■□■□□□BBBDDB 
□BBiJUBBB  1. 
■II  III  III 
□□□BBBQDBBaB 
L     III  !     I  BB 

□bbbqbbbl1bbb 

Fig.  684. 


□■□a 
Fig.  685. 


VJOEM 
{  i  jffl  J 


Fig.  686. 


The  foregoing  57  weaves  have  clearly  demonstrated  that  double-cloth  weaves  may  be  de- 
signed in  any  combination,  from  1  face,  1  back  in  repeat,  to  3  face,  I  back ;  also  that  these  pro- 
portions may  be  taken  independently  for  warps  or  for  filling  in  any  weave.  The  binding  has 
mostly  been  done  by  the  back-warp,  yet  it  has  been  shown  that  the  face-warp  can  also  be  used. 
In  closing  this  subject  on  the  construction  of  the  double-cloth  weaves,  a  further  example  is 
shown  in  which  both  methods  of  stitching  must  be  combined  in  one  double-cloth  weave. 

Fig.  687  represents  such  a    double-cloth  weave. 
Repeat:  20  warp-threads  and  18  picks.    The  arrange- 
ment of  the  warp  is : 
3  threads  face. 
1  thread  back. 
5  threads  face. 
1  thread  back. 
10  threads  in  repeat. 
The  filling  intersects  2  picks  face,  I  back,  =  3  picks  in  repeat. 

On  examining  the  weave  we  find  the  centre  thread  of  the  5  face-ends  used  for  interlacing 
twice  in  one  repeat  of  the  weave  in  the  back.  The  places  of  stitching  the  face-warp  into  the 
back  are  shown  by  a. 


i.-1:  b  ■■  :  :  :  :~  b  bb  •  :  :  '  : 

1  B*B   BB  .        B*B  .BB  > 

aa  iaaaaa  aaa  aaaaa  a 
l  ,  ,  mm  mm        mm  m  a 

□□□□□□BBBI  .     .  Iflvl 

aa  aaaaa  aaa  aaaaa  'a 
(           ■■  ■■         ■■  ■ 

[  m  mm  ]._;.;",  ■■  mm 

aa  aa:  .aa  aaa  aa  aa  a 

LlBnBB'JlLXJGGBGBB  □□] 
[  1EBI   BB  BB     ;  1 

:  ,a  aaa  aaaaa  a 
■■  ■  ■       mm  m  m 
1  mm*m  ;□□    .  bbesb 

aa  aaaaa  iaaa  aaaaa  a 
■  mm  m        '    mm  m 

HI    II  .  .1  II 

laauaa:  aa  aaa  aa  .aa  a 

1  11  20 


Fig.  687. 


laoBBB-DnnnnBBBnnnn 
□bb1  mm  i  }  mm  mm  ju 

□□i 'JBBDBBDQDBBL  II 

□  f'r  ]□!  .BBB   )□□;_]!  iBBB 

■III  III 

l  ■■■  :  ; ■■■■ 

□■BBaGmaBBBmm 

:  BB  BB       BB  IBB:].] 

□  II  IBB  .■■□□□■■□■I 
□□□□□BBBCDCOnBBB 
Wi  III  HI! 

1 BBBBaDDDDBBBG □□□ 

1  9  16 

Fig.  688. 


137 


Weave  Fig.  688  represents  the  single-face  cloth,  being  a  granite-weave  with  fancy  spot-effects 
(by  the  aid  of  warp-threads  numbers  I  and  9.) 

Double-Cloth  Weaving  without  Stitching  Both  Cloths. 

At  the  beginning  of  our  lecture  on  the  double  cloth,  and  the  purposes  for  which  it  is  used 
when  the  two  single  cloths  are  not  stitched  together  so  as  to  form  a  new  fabric,  we  mentioned 
the  manufacture  of  seamless  bags  and  fabrics  constructed  on  similar  principles.  In  manufacturing 
seamless  bags  a  series  of  panels  are  formed,  each  composed  of  two  separate  cloths,  a  series  of 
solid  webbings  uniting  the  cloths  of  the  panels,  and  a  series  of  divisions  formed  in  the  solid 
webbings,  each  of  which  are  composed  of  two  separate  cloths.  Diagrams  Figs.  689,  690,  691, 
692  and  693  are  intended  to  illustrate  the  method  of  weaving  such  seamless  bags.  (Harden- 
brook's  patent.) 

Figs.  689  and  6891  represent  a  plan  view  of  the  fabric. 

Fig.  690  is  a  transverse  section  of  the  same  in  the  plane  x  x,  Fig.  689. 

Fig.  691  is  a  longitudinal  section  in  the  plane  y  y,  Fig.  689. 

Fig.  692  is  a  longitudinal  section  in  the  plane  z  z}  Fig.  689. 

Fig.  693  is  a  sectional  side  view  of  a  bag  when  finished. 


A  (689)  designates  a  fabric  in  which  the  arrow  1  indicates  the  warp.  This  fabric  consists  of 
a  series  of  panels  c  c*,  each  composed  of  two  cloths,  and  of  a  series  of  transverse  solid  web- 
bings, a  a,  and  longitudinal  solid  webbings  b  b,  in  which  the  filling  is  interwoven  with  all  the 
warp-threads  of  the  fabric,  producing  purely  single  cloth  with  the  latter  at  places  mentioned. 
The  outside  edges,  as  to  width  of  fabric  in  the  loom,  may  either  be  temporarily  closed  with 
a  few  threads  of  plain  working  selvage,  which  may  be  liberated  after  the  fabric  has  left  the 
loom ;  or  the  fabric  can  be  woven  without  specially  uniting  the  two  fabrics  in  such  manner. 
The  commencement  and  the  ending  of  the  weaving  of  the  fabric  in  the  loom  is  formed  in 
each  case  by  one  of  the  transverse  solid  webbings  a  (single  cloth).  If  the  fabric  is  cut 
lengthwise  through  the  centre  of  the  longitudinal  solid  webbings  b  b,  and  through  the  centre 
of  the  divisions,  and  also  transversely  through  the  middle  lines  of  the  solid  webbings  a  a, 
f  fy  a  number  of  bags  are  produced,  and  it  will  be  seen  that  the  bags  produced  from  the 
side  portions,  <r*  c*,  of  the  fabric  have  selvages  at  their  mouths,  while  all  the  others  produced 
from  the  centre  portions,  c  c}  will  have  raw  edges  at  their  mouths). 

The  size  and  the  shape  of  the  bags  is  unlimited  and  is  readily  regulated  by  the  changing  of 
divisions  (purely  single-cloth  weaving)  or  openings  (double  cloth  not  stitched). 

From  the  explanations  and  illustration  given  it  will  readily  be  seen  that  in  cutting  up  the 
fabrics  represented  in  the  drawings  a  number  of  bags  are  formed,  the  mouth  of  each  being 


138 


composed  of  two  single  cloths  projecting  beyond  the  solid  webbing,  so  that  they  can  be  turned 
back  upon  the  body  of  the  bag  (see  Fig.  693)  to  form  the  tube  g,  for  the  reception  of  the 
drawing  strings  g1,  or  simply  hems  to  protect  the  raw  edges. 

Fig  694  illustrates  the  double  plain  weave  (two  plain  woven  cloths),  without  combining  or 
5^S°    stitching  required  to  produce  the  openings,  while  the  common  rib-weave,  Fig.  695  SS55, 
Pj'™ '    or  the  common  plain  weave  Fig.  69s2  gS  is  used  for  forming  the  divisions  in  the  fabric 
(purely  single  cloth.) 

These  bags  are  used  mostly  for  tobacco,  salt,  flour,  etc.,  or  pockets  for  trouserings,  coats, 
suitings,  etc.  Frequently  seamless  bags  of  a  larger  description  are  required  to  be  made,  extend- 
ing in  their  length  over  the  entire  width  of  the  loom.  In  such  case  the  double  plain  weave  is 
arranged  for  two  successive  picks  in  each  cloth,  as  shown  in  jjggnj  Lower  side  of  bag  on  loom. 
Fig.  696.  Warp-threads  2  and  4  and  picks  3  and  4  forming  the  i2E5B  1  Upper  side  of  bag  on  loom, 
lower  fabric,  and  warp-threads  1  and  3  and  picks  1  and  2  forming  S. 
the  upper  fabric.  FlG-  696- 

Only  one  shuttle  being  used  the  filling  will  form  the  bottom  of  the  bag  at  the  point  where 
the  filling,  after  leaving  one  cloth,  changes  into  the  other  cloth.  For  example,  in  the  present 
weave,  suppose  we  commence  to  insert  the  shuttle  in  pick  1  from  the  right  to  the  left,  or  in  the 
direction  of  arrow  S,  below  the  weave ;  the  shuttle  and  its  filling,  after  leaving  shed  1  of  the 
upper  cloth,  will  return  in  the  same  cloth  on  its  return  (left  to  right),  but  will  insert  itself  in  the 
lower  cloth  on  pick  3  by  interlacing  with  the  warp  and  filling  of  the  lower  fabric  ;  returning  in 
the  same  fabric  at  the  opening  of  shed  (pick)  4,  ready  to  change  again  (combining  both  single 
cloth  for  forming  the  bottom  of  the  bag)  from  the  lower  cloth  to  the  upper  (the  starting  point  in 
the  present  example). 

Before  and  after  weaving  the  required  width  of  the  bag  (double  plain  interlacing  on  one  side  of 
6*57  I      ^e  faDr*c)>  the  entire  number  of  warp-threads  are  arranged  to  interlace 

on  the  common  rib-weave  shown  in  Fig.  695  (in  purely  single  cloth). 
Fig.  697  illustrates  itself,  by  the  aid  of  the  foregoing  explanation,  as 
follows  :  a,  b,  c,  d  inside  size  of  bag  produced  on  weave  696.  The 
shaded  part  between  the  two  bags  represents  the  purely  single-cloth 
fabric  interlaced  upon  the  common  rib-weave  (Fig.  695);  b  to  c  — 
bottom  of  the  bag,  a  to  d  =  opening  of  the  bag.  Dotted  line  e  to  f 
indicates  the  place  for  separating  the  fabric. 

In  the  manufacture  of  hose  and  similar  textile  fabrics  the 
weave  given  in  Fig.  694  (double  plain,  one  end  face  to  alternate  with 
one  end  back  in  warp  and  filling)  is  used. 


a,.  \ 


cL.  c. 


Double  Cloth   Fabrics  in  which  the   Design  is  Produced  by  the   Stitching  Visible 

upon  the  Face  of  the  Fabric. 

Worsted  Coatings. 

Fabrics  of  this  style  are  a  division  of  the  double-cloth  in  which  the  binding  of  both  is 
arranged  so  as  to  form  patterns  of  any  required  design.  This  binding  of  the  two  fabrics  has  to 
be  done  as  firmly  as  possible  all  around  the  outline  of  the  design.  The  double  fabric  has  to 
become  a  single  cloth,  warp  and  filling  ways,  all  along  the  outline  of  the  figure  or  effect.  It  has 
to  be  bound  not  only  at  intervals  as  in  the  previously  explained  stitched  double-cloth,  but  into 
one  compact  fabric  throughout  the  entire  length  of  the  piece,  upon  the  warp-threads,  and  across 
the  fabric  upon  the  filling  ends  which  form  the  outlines  of  the  figure. 

Double-cloth  fabrics  in  this  arrangement  of  binding  may  be  made  as  fanciful  as  required, 
but  in  the  manufacture  of  worsted  coatings  and  similar  fabrics  they  are  generally  confined  to 
striped  and  small  check  figures. 


139 


Textures  for  these  Fabrics  and  Arrangement  for  Binding. 

These  fabrics  are  generally  constructed  on  2  threads  face,  1  thread  back  (binder),  and  the 
stitching  is  done  with  the  back-warp  binding  over  2  face-picks.  For  example,  take  Fig.  698  for 
the  motive  of  the  design  and  Fig.  699  for  the  complete  weave. 

Repeat :  42  warp-threads  and  24  picks. 

It  will  be  readily  understood  that  the  stitching  of  the  back-warp  in  the  face  fabric  will  form 
impressions  on  the  latter  according  to  the  figure  employed  for  the  motive  of  stitching  the  fabrics. 
Again,  through  the  places  where  the  double  cloth  is  left  unstitched,  the  fabric  will  get  an  em- 


■  ■  ■  ■ 
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:□□ 


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as  a  a  a  a  a  a  a  a  a  a  a  a  .  a  -  a  a 
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a  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa 
a  ,  aa  a  .  aa  a  aa  a  aa  a  a  a  a  a 
ma  a  a a  .  a  a a  a  a a  .  a  a a  a  a  a 
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a    a    a  a  a    a  a  a    a  a  a    a  a  a    a    a  a 

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a  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa 
a  i  ,a  :  a  aa  a  ;  aa  a.  aa  a  aa  a  a  a 
iaa  ;  ia  aa  .a  ia  a  •  ,a  a  a  a  aa  a  1 
aaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aa: 
aa  a    a  a  a    a    a    a     a    a    a    a  a  a  ai 

a  aa  .a  i  a  a  .  a  a  a  a  aa  a  a  a 
a  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa 
a  1  :aa  a  :  a  a  ,a  a  a  a  a  a  a  a  a  a 
1  ,aa  ;  a  ;  a  a  ■  a  a  a  a  aa  a  aa  a  i 
aaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aa: 
a  a  .a  a  a  a  a  a  a  a  a  a  a  a  a  ai 
i  a  ,  a  a  a  a  a  a  a  a  a  a::  a  a  a 
aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa 
a .,  .a  .  a    .a  ;  a     a    aa  a    aa  a    aa  a 


a:  j 
iaj 
i 


a  a 
a  a  a 

a  .1 
a  ;  a 
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a 

a  a 
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Fig.  698. 


Fig.  699. 


bossed  effect,  similar  to  that  of  2  pieces  of  cloth  embossed  with  the  needle,  the  binding  taking 
the  place  of  the  latter.  The  cut  effect  will  be  more  prominent  when  2  beams  are  used,  one  for 
the  face-warp  (ground)  and  one  for  the  back-warp  (binder),  and  putting  more  tension  on  the 

beam  carrying  the  binder.    The  r,  twill  for  the  face,  having  the  backing  working  on  plain 

weave,  may  also  be  used. 

Fig.  700.    Motive  of  the  effect. 

Fig.  701.  The  complete  weave  to  produce  the  same,  executed  on  above  stated  principle 
Repeat :  36  warp-threads  and  36  picks. 


a      a  mm      a  a 

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□:  a  .       a         a         a  1 

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□mmaamma  amcDoai 
a      a  a  a      a  a 

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aaaa 
b       ;  a  a      a  b  a  i 

a       .  a      a. a         a  a 
a         a  a  a 

a  a         a      a  a  a 
a  a  a  a 

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1   a  b      b  mm      a  : 

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abb  a  b  a 

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1 

Fig. 


700. 


:.BHB' 


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a  .  aa  aai 
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aaa  aaa 
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a  a  . :  aaa    ;  a  a 
aaaa  aaaaa  aaaaa 
a        aaa      a a 
c;  i  aaa      a  a  a 
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□Liaaanmaa;  jnut  ]aai 
aaa.      a  a  in-  *a  a' 
aaaa  aaaaa  aaaaa 

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a  aaaaa  aaaaa  aaaaa  aaaaa  aaaaa  aaaa 
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a  : 


aai 


aa 


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 BBBDLjLiBI 

aaaaa  aaaaa  aa; 
aaa.  ;    aa  aa 
a  a      aaa      a  a 

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V; 


Fig.  701. 


In  worsted  fabrics  (also  woolen  fabrics)  forming  stripes  composed  of  different  weaves,  in 
-which  it  is  desired  to  make  the  changing  from  one  effect  or  weave  to  the  other  very  prominent, 
by  means  of  a  deep  or  pronounced  cut  line,  use  a  method  similar  to  the  one  above  explained,  i.  e. 
"  the  double-cloth  fabric  changing  into  single  cloth  at  the  respective  last  ends  of  the  one  weave 
or  effect,  and  the  first  ends  of  the  other."  The  only  change  observed  in  the  present  kind  of  fab- 
rics, compared  with  those  explained  before,  is  found  by  combining  both  fabrics  into  one  through 
lowering  the  face-warp  into  the  back  filling.  In  this  manner  designs  Figs.  703  and  705  are 
constructed. 


140 


Fig.  702  represents  the  motive  to  weave  Fig.  703,  and  Fig.  704  illustrates  the  motive  for 
weave  Fig.  705. 

Fig.  703.    Repeat:  18  warp-threads,  6  picks,    h  for  raisers,  □  and  a  for  sinkers. 
Fig.  705.    Repeat:  36  warp-threads  and  6  picks,    □  for  raisers,  ■  and  □  for  sinkers. 


■a  □■■□□■■□□■■□□■■□□■■□□ 
■□□■□■■□□■■□■□□■□■■□□■■a 
*a  mm  :,□■■□□■■□□■■□□■■□□■■ 
[■■■■■■  ■■  ■  ■■  ■ 
■■    ■■    ■■  -,  !■■!_:■□■■□□■■□□ 

Fig.  702. 


□□□□□□□□□□□□□□□nun 
■□□□□□Ml  ;□□□□□□□□□□ 

□  a  '  ::  a  a  a  i 
□□□□  :  aaaa  aaaaa  i  j 

□  a    □□  .      □□  J 

□□□□□□□□□□□□□□□□□□ 
s  1.  aaaa  ■  □□□□□  □□□□ 

□□□□□!  :□□□□□□□□□□□□ 
□□□□      BHBH    □□□□□  II 
□□□□□□□□□□□□□□□□ 
«□□□□□□□□□□□□□□□□□□ 
I  •   □□□□•  1  □□□□□□□□□□ 

□  □      □  □  •  .  a  '□  :  , 

::::::  bbbbb  n 

1  □□□□□□□□□□□□□□□□□□ 


Fig.  703. 


Matelasses. 

These  fabrics  are  chiefly  used  for  ladies  jackets  or  mantle  cloth,  hence  the  name  "  matelasses.'* 
The  face  fabric  is  mostly  silk  or  fine  worsted,  the  back  all  cotton,  or  cotton  and  woolen.  The  face 
and  the  back  are  also  two  separate  fabrics,  having  an  extra  "  wadding  "  pick  between  each,  which 
will  greatly  help  to  enrich  the  embossed  effect  characterizing  this  line  of  fabrics.  The  figure  is 
produced  exactly  on  the  same  general  principle  as  that  explained  before.    In  addition  to  this 


□□■■□□■■□□■■□□■■□□■■□□■■□□■■□□■■□□■■□□■a 
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1  S  16  24 


□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a 

:-■  ■□□□□□□□□!  •  □  a  a  ;■□  .□  ,□□  □ 
□□□□□□□'  □' ::/.!  '□  a  :  j  jh  a  :    □  □  .  .:□□□□□□ 

□□□□□□□□□□   PiHHC  □□□□□'..'« 

□  ju:    a  a  '  .a  ■    a  a  .    a  a  .  aa        a  a 

«:  ':•:..□':  □  a.  a.  .  a  a  ni  a  a  _y  a.  aun,  a  a 
■□□□ac:  aaaa;  •  □□□□□□□□□□ 

niQHLi:  aa    a  a  .  n:  a      au    .  aa  .  i  a 

!□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ JGUHHUU 


3G 


Fig.  704. 


Fig.  705. 


binding  different  weaves  for  the  face  effect  may  be  employed  by  using  twills  and  other  weaves  in 
floral  and  ornamental  figures  for  design.  In  some  of  the  lighter  grades  of  these  fabrics  no 
interior  or  wadding  filling  is  employed,  but  simply  the  two  cloths  as  explained  at  the  beginning 
of  this  article.  In  these  fabrics  nearly  the  same  effect  is  obtained  for  the  face  appearance, 
though  of  course  the  figures  do  not  stand  out  as  prominently  as  when  wadded,  and  the  fabric  is 
not  as  stout. 

Quilts. 
Plain  Piqid  Fabrics. 

Another  line  of  textile  fabrics,  constructed  on  the  same  principle  as  the  coatings  and  mat- 
elasses, is  found  in  quilts,  bedspreads,  toilet-covers  and  similar  fabrics.  These  fabrics  are  gener- 
ally made  in  white.  In  plain  pique  fabrics  the  back-warp  forms  lines  across  the  fabric.  Fig.  706 
shows  a  draft  for  such  a  fabric  requiring  4-harness  for  face-warp,  4-harness  for 
back-warp,  =  8-harness. 

Repeat :  6  warp  threads,  10  picks. 
□  represents  the  face-warp,  ■  represents  the  back-warp. 
Examination  of  the  design  shows : 
Picks  1  and  2  interlacing  the  face-warp  on  plain  weave.    Pick  3  is  a  backing  pick,  in  which 
the  entire  face-warp  is  raised,  and  also  every  other  one  of  the  back  (forming  in  this  manner  the 
first  pick  of  the  plain  weave  for  the  back).    Picks  4  and  5  are  a  repeat  of  picks  1  and  2.    Pick  6 
is  a  backing  pick,  in  which  the  entire  face-warp  is  also  raised,  and  also  the  back  warp-ends  not 
raised  in  pick  3.    Picks  7  and  8  are  again  a  repeat  of  picks  1  and  2.     Thus  far  the  weave  has 


i"'  aa  aa  a::  aa 
aa  aa  aa  aa 

□□□□□□□□□□□a 
a  a  j  .a  a 
a  aaaaa  aaaa 
□□□□□□□□□□□a 
a  ..  a  .  .a  a  i 
□■□a  aaaaa  a 

^□□□□□□□□□□p 
Fig.  706. 


141 


formed  two  separate  fabrics,  each  one  worked  on  its  own  system  of  threads.  By  picks  9  and  10 
these  fabrics  are  united  into  one  cloth  by  raising  the  back-warp  into  both  picks  and  working  the 
face-threads  on  the  plain  weave  as  was  done  before  on  picks  1,  2,  4.  5,  7  and  8.  This  combina- 
tion of  both  fabrics  gives  us  the  required  line  across  the  fabric.  If  it  is  desired  to  produce  this 
fabric  for  a  heavier  article,  one  or  two  "  wadding 11  picks  may  be  introduced  between  both  fabrics, 
as  in  Fig.  707,  through  pick  5. 

Picks  1  and  2  face. 
"     3  back. 
"    4  face. 

"     5  interior  (wadding.) 
"     6  face. 
"     7  back. 
"    8  and  9  face. 
"   10  back. 
"   1 1  face. 

In  inferior  qualities  these  fabrics  are  made  by  omitting  the  two  backing-picks ;  hence  the 
binder-warp  has  to  float  on  the  back.  The  wadding  pick  taken  for  these  fabrics  is  of  a  very  heavy 
size  so  as  to  prominently  raise  the  rib  effect. 


irnn  hh  HH  hh 
hh  hh  hh  i 

m  h  j  hi  «  n  :  :a 
n    h    h    h  1 

□    HHHHU  HHHH 

!     H     ,H      H  H 

m  mm  mm  mm.  m 

Hi    in     hi    H  :  I 

HHHH  ,HHHHH  H 

'  H      H      H  H 

Fig.  707. 


cba 

□□Qnnra 


r  Hi  hi 
□□□□□□ 
■    ■  □ 

BCDHCOH 


61.  HI  H  1 
6DGSDDH 


3DHDnna 

2DDHCDE! 
cba 

Fig.  708. 


Such  an  example  is  shown  in  weave  Fig.  708. 
Repeat :  2  ends  face,  1  end  back  in  warp  and  8  picks. 
The  arrangement  of  the  filling  is — 

Pick  I    face,  binder. 

(i      ^  j  face,  regular. 
"      4  wadding. 

u      ^  I  face,  the  same  as  picks  2  and  3. 
"      7  wadding. 

"      8    face,  the  same  as  picks  2  or  5. 
Diagram  Fig.  709  illustrates  the  section  cut  of  a  fabric  interlaced  with  weave,  Fig.  708. 

Figured  Pique. 

These  fabrics  are  also  executed  on  the  principle  of  the  double  cloth.  Both  cloths  are  quite 
plain  in  their  weave,  but  the  face  is  much  finer  than  the  back.  White  is  the  color  in  which  they 
are  generally  made.  A  "  wadding"  pick  maybe  used  to  give  bulk  to  the  cloth,  and  the  em- 
bossed effect  likewise  characterizes  these  fabrics.  The  design  for  the  fabric  is  also  formed  by 
binding  both  cloths  together.  The  thicker  the  wadding  and  the  larger  the  figure  required  to  be 
designed,  the  more  prominent  will  be  the  effect.  In  many  of  the  lighter  fabrics  no  wadding 
pick  is  used,  but  the  two  cloths  are  simply  stitched  together. 


142 


Fig.  710  illustrates  a  weave  for  these  kind  of  fabrics  (without  a  wadding  pick).  Fig.  711  is 
the  motive  of  the  stitching  for  effect  in  Fig.  710. 

A  consideration  of  the  face-picks  will  show  in  every  one  of  them  some  of  the  binder-warp 
up,  according  to  the  figure  required. 

This  will  easily  explain  the  stitching  of  the  fabric.  As  both  warps  are  white,  no  change  in 
color  can  be  seen  but  the  effect  will  be  produced  by  the  weave,  as  every  binding  back-warp  thread 
will  pull  in  the  face  of  the  fabric,  in  any  place  where  it  is  raised  on  a  face-pick,  somewhat  similar 
to  the  stitching  together  of  two  bulky  fabrics  with  a  sewing  machine.    Large  designs,  such  as 

:  ma  a  a  .a  .a  aa  .  a  ma  a  a  a  a 
am  a  ;  a  a  a  am  a.,  am  a  a  ,  .a.  .a.  j 
a  aaaaa  a a  a a  a a  bbbbb  a a  a a  a a  aaaa 
. ;  a  ma  a  a  a  a  ma  a  a  .  a  a  ma 
a  am  a  a  a  a  am  a  a  a  a  am 
a  aa  aaaaa  a a  a a  a a  a a  a a  a a  aaaaa  a 
.  a  a  ma  a  ia.  a  ,  a  a  a  a  ma  a 
a  .a  am  ia  i  a  a  ;  a  a.  a  a  am  a1...;  j 
a  aa  a  a  aaaaa  a  a  a  a  a  a  aa  aaaaa  a  a  ,a 
;  i_.a  a  a  ma  a  a  a  a  a  ma  a  a 
a  a  a  am  a  a  a  a  a  a  a  a  a 
a  aa  aa  aa  aaaaa  aa  aa  aaaaa  aa  a a  a 
□□a.  i  a  ,  a  i  .a  aa  i  iai  1  ;a  :..3GBaanacDBGGa 
a  a  a  a  aa  .a  .  a  a  an  a  a  a: 
aaaa  aa  aa  aa  aaaaa  aaaaa  aa  aa  aa.  a 
gbb  a  a  a  a  a  a  a  aa  l  bl,l,b  jbggb 
aa  a  a  a  a  i  aa1  a  aa:  a  a  a  a  ,n 
a  aaaaa  aa  a  a  a  a  aaaaa'  a  a  a  a  a  a  aaaa 
..;  .a  a  a  a  a  a  a  a  a  a  a  a  a  aa 
a  ;  .aa  .a  .a  .  a  .  a  n  aa  a  a  a  a  bbg 
aaaa  aa  aa  aa  aaaaa  aaaaa  aa  aa  aa.  a 
□a  a  a  a  a  a  a  a  a  a  a  a  a  _.a  a 
am  a    a    a    a    bbi.b:.   aa  a    a    a    a  ;□ 

a  a  a  aa  aa  aaaaa  aa  aa  aaaaa  a::  aa  a  lSBGCDDBGBcncD 

;  jb    a  :  a    a  aa  i  .a.  .  a    a  aa    .a    a  :.  a 

a.;  .a    ia  '  a  .  <aa  ,a  i  o  -  a  i  .aa  a    .a  ;.  n  a  •,  ,•  i:  11  iljub  i 

a  aa  aa  .aaaaa  aa  aa  :  aaa  aa1  :a  l .'..)•  mj  a  o.m  ;:  i 

.j  jB  a  a  aa  a  a  i  ai  a  i  a  aa  a  :a 
a    a    a    aa  .a    a     a    a    a  .  aa  .a    a  ;□ 

a  aa  aaaaa  aa  aa  aa  aa  aa  aa.  aaaaa  a  □■□□□□bddgcb 

a    ia  aa    .a  ,  a    ia  .  a    a    a    a  aa  .a 
a    a    aa  a    a    a     a    a    a    a    aa  a  . )  □□£.)□■□□□■□□□ 
a  aaaaa  aa  aa  aa  aaaaa  aa  aa  aa  aaaa 

_j  a  aa    a  ,  a    a    .a  aa    a    a    a    a  ,aa  ,m  ■  ] 

ia^i;aB^aj_Ja-J-..a.j_BJL,B«_B..__B_^a  a_,-BBG 

1  b6  1  12 

Fig.  710.  Fig.  711. 

flowers,  etc.,  are  woven  with  the  Jacquard.  As  these  large  figures  have  a  long  floating  of  the 
binder-warp  (back-warp),  while  not  being  used  for  the  outline  of  the  figure  on  the  face,  the  back 
warp  threads  as  a  consequence  float  on  the  back;  and  as  this  floating  is  injurious  to  the  fabric, 
we  must  use,  in  addition  to  the  front-harness  for  the  face-warp,  a  second  set  of  front-harness  for 
the  back-warp  (binder),  through  which  the  back-warp  can  be  worked  on  plain. 

Reeding  these  Fabrics. 

Threads  1,  2  and  3  are  drawn  in  the  first  dent  of  the  reed;  threads  4,  5  and  6  are  drawn 
in  the  second  dent. 

RIB  FABRICS. 

Under  this  division  are  classified  fabrics  which,  in  their  method  of  construction,  have  high 
prominent  and  elevated  places  exchanging  with  lower  or  compressed  ones.  This  method  of  ex- 
changing is  generally  arranged  to  run  in  the  direction  of  the  warp,  but  can  be  arranged  for  a 
diagonal  direction,  or  even  filling  ways.  The  principle  of  construction  of  the  weaves  for  these 
fabrics  is  nearly  related  to  the  common  rib-weaves  for  single  cloth. 


8BBBBBBBBQOOG  8nGQnBBBBBEBBBBBnGGBBBBBBBBBBBB 

bb  mi  a  a  a  a  a  a  a  •■    :  a  a  a  a  a  a 

bebbbbbbgooo  i      a:              aaa  aaaaaaaaaaaa 

B   III  BBMGBB  rlr     ■   ■■■■■     \  H  B  B    B  B   B   B  I 


laBBBaaaaiDCD  bbbbbbbbcocd  1 a             .aaa      aaaaaaaaaaaa  T> 

mm  a  a       .1  !  bbb  bbb  m,   i  bbbbbb        bbbbb  b — /> 

BBaaaaaa  jcnH  BBaaaBBBGGGG  □□□aaaaaaaaaaaa      .aaaaaaaaaaaa — a 

JBDBDBDBDHGHD  ';  BBB.  BBB  1BBBBGBGBGBGBGBOBBBBQBGBOBGBQBQ  -rl 

1                                12  1                                12  1                                          15  3U 

Fig.  712.                             Fig.  713.  Fig.  714. 


Weaves  for  rib  fabrics  forming  their  line  (rib)  effects  in  the  direction  of  the  warp  are  gener- 
ally produced  by  floating  every  other  pick  for  4  to  12  (or  more)  threads,  and  then  raising  these 
threads  so  floated  for  two,  three  or  more  warp-threads.  The  picks  situated  between  them  are 
interlaced  either  in  plain  or  twill  weaves. 


143 


For  example,  Fig.  712.  The  foundation  weave  is  the  common  plain  weave.  Picks  1  and  3 
(and  picks  of  uneven  number)  interlace  in  the  entire  repeat  (12  warp-threads)  on  this  plain  weave, 
while  picks  2  and  4  (and  picks  of  even  numbers)  technically  known  as  "  rib-picks"  float  below  the 
first  8  warp-threads  and  over  the  next  (last)  4  warp-threads. 

Fig.  713  illustrates  a  similar  arrangement.    In  this  weave  the  3  1  4-harness  twill  is  used 

for  every  pick  of  uneven  number,  while  the  picks  of  even  numbers,  the  rib-picks,  work  the  same  as 
in  the  preceding  example.    Repeat:  12  warp-threads  and  8  picks. 


Fig.  715. 


Fig.  714  illustrates  an  example  in  which  every  uneven  numbered  pick  interlaces  for  12  warp- 
threads  on  the  common  plain  weave  (floating  below  3  warp-threads),  while  every  even  numbered 
pick  (rib-pick)  floats  for  12  warp-threads  on  the  back  of  the  fabric  and  next  forms  the  face-rib 
over  3  warp-threads. 

Diagram  Fig.  715  represents  the  section  cut  of  a  fabric  woven  with  weave  Fig.  714.  A 
careful  examination  of  it  *will  show  that  warp-threads  4  to  15  inclusive  must  make  interlacings 
with  the  filling  which  are  not  required  by  warp-threads  1,  2  and  3.  To  get  perfect  work  and 
sufficient  production  it  is  advisable  to  have  double  beams — one  beam  to  contain  the  first  3  warp- 
threads,  the  other  the  remainder.    Repeat :  15  warp-threads  and  4  picks. 

Another  division  of  rib-weaves  is  derived  by  omitting  the  special  rib-pick,     _  *  _  _  "  _ 
using;  instead  of  it,  every  pick  to  form  partways  (across  the  weave)  rib-pick  and 
partways  regular  weave.    Every  pick  in  rotation  is  arranged  for  "rib-pick"  effect  ]"c"D"™HGan 
(floating  on  back)  when  the  adjacent  picks  interlace  on  common  weaving. 

This  method  of  alternately  exchanging  every  pick  in  certain  places  for  " rib-pick"  when  its 
preceding  and  following  picks  are  used  for  forming  the  weave  (on  the  face  of  the  fabric),  is  con- 
sumed until  the  repeat  is  derived. 

Fig.  716  represents  such  a  weave,  designed  for  12  warp-threads  and  4  picks  repeat.  The 
float  of  each  pick  (for  "  rib-pick  ")  represents  6  warp-threads  as  illustrated  by  a  type. 

For  the  remaining  6  warp-threads  in  the  repeat  of  weave,  every  pick  interlaces  with  the  warp 
on  the  regular  plain. 


Fig.  717. 

Diagram  Fig.  717  represents  the  section  of  weave  Fig.  716  This  method  of  using  every 
pick  partways  as  rib-pick  (float  on  back)  and  partways  to  interlace  with  the  warp  on  a  weave,  and 
having  this  arrangement  alternated  in  each  adjacent  pick  will,  in  addition  to  the  rib-effect  pro- 
duced, prove  of  great  advantage  in  the  manufacture  of  fancy  trouserings,  in  which  every  other  rib  is 
required  to  appear  in  a  different  color.  Using  each  pick  (taken  in  rotation)  with  the  alternate  ex- 
changing of  two  colors,  each  alternate  pick  the  same,  will  (using  one  color  for  warp  over  the  en- 
tire width  of  the  fabric)  produce  the  above  mentioned  effect.  Such  stripe  effects  will  be  yet  more 
prominent  if  the  warp  in  color  arranegment  is  used  according  to  the  filling  forming  the  weave. 


144 


□■  ■  ■  * 

EBBEBEEEfl   ■ J 


Weave  Fig.  718  illustrates  a  rib-weave  constructed  on  the  same  principle  as 
weave  Fig.  716.     The  distinction  between  them  is  the  difference  in  size  of  ribs 
faSa  forming  the  new  weave.    Warp-threads  1  to  8  form  the  large  rib  I  while  the  smaller 
Fig.  718.      Hb  II  [y2  the  size  of  I)  is  formed  by  warp-threads  9,  10,  11  and  12. 

Fig.  719  illustrates  a  rib-weave  in  which  the  4-harness  -  -2  twill  is  used  for  the  face-weave, 

every  pick  being  used  for  one-half  the  repeat  in  width  of  weave  for  floating,  thus  forming  ribs  of 
equal  size. 

Repeat  of  weave:  16  warp-threads,  8  picks. 


11 


-BBEEEESEflCOBBCOB 

■■    ■■  beeeeeeb 

EEBEEEEEflfl.  TJBBDD 
■■      ■■  BBBBBBBB 
BBBBBBBB    ■■  BAG 
■■  BBBBBBBBBB 
BBBBBBBB      ■■  ■■ 
lBGGBBGGBEEEEEEEE 
1  8  9  16 


Fig.  719. 


^EBBBBBBSBCrBBDDB 
:  ■■  BBBEE 
BEEEBBBEBfl:  JGflflOG 
BB  !  BB  _  BBBBBBBB 
BBBBBBBB 1 BB  BB  . 
BDGBBCDBHGHBHHBH 
BBBBBBBB      BB  BB 

iGQBBGCflflBEBBBBEB 

Fig.  720. 


fBEBBBBBBBDBD 
BQ(  BB  BBBBB 
BBBBBBBHDBDB 
□GBBCGflflEEEB 
EEEEBBEEfl:  BG 
I  .BB  BB  BBBB 
BBBBBBBB  i_.flCfl 

IBB  BB  BBBB 
1  8  9  lH 


Fig.  72] 


ttRBBQBOBBCfl  fl  "  BB  ^flCBCBBGB 
;     :    . BB   B   B   ■■  B 

□□□□BQHQH  'BBBB 

cm  m  ■  m  urn  m  m  mm  u  ■  B 

□HUanBDBBDBnB   BB   ■  flCflflu 

BBBI  :  .BBBBBBBB 

JDBBDBPBDBB  JBI  B  BB  BG 
^■□■□■□■■GB  B   BB1  ■  .BC 

h  a  a  mm  m  m 

■  BB  B .  fl  BB  B  B  BB.  B 
■fl   ■  fl   IIDI  I  BBGBGB 

bgb:  ■  bbjbdbdbbdbdbdb 

:  r  :      -        '     '  . 

■  ■■  B  B  II  BL  B  BB'.  ] 
■S   ■    ■    BB    ■    ■    BB  B 

(   i    b  a  a  aa  a  a  aa  a . an 

:  -    a  a  aa  a  a;  :bb:  .b:  b  bb 

lGGGCBEEEBEEBEEEBBEEEEEEB 

14  5  24 


Fig. 722. 


The  direction  for  running  the  twill  in  both  ribs  in  weave  Fig.  719  is  the  same,  but  which  is 
differently  arranged  in  weave  Fig.  720. 

Fig.  720  has  a  similar  repeat  and  the  same  weave  (-  ^  4-harness  twill)  for  face.  The  differ- 
ence is  in  the  direction  of  the  twill  in  the  face-weave,  which  has  a  different  direction  arranged  for 
each  rib. 

Weave  Fig.  721  illustrates  a  further  step  in  figuring  rib-weaves.  In  this  figure  rib  I  is  inter- 
laced on  its  face-weave  by  the  -  g  4-harness  twill,  and  rib  II  with  the  common  plain.  Repeat 

of  weave  :  12  warp-threads  and  8  picks;  rib  I  calls  for  the  first  eight  warp-threads  ;  rib  II  requires 
warp-threads  9,  10,  11  and  12. 


in 


IV 


2  '  B      BBB      BC  CM   fl      BBB      B        '  I 

B  '  BBB      B  B   BC  BBB 

■ 

BBB      B    B  B   B  .BBB 

BBBBBBBBBB  BBBBBBBBBB 

:  bbb    IB  a  mm:  mmm  >  <  n 

BBBBBBBBBB 

BBB  .'.  B   B  I      I    BC    BB  M 

BBBBBBBBBB  !  BB!  ! 
BB  ;    B   B      B  BB  i.  B    B  B 

BBBBBBBBBB        .  .BBBBBBBBBB 

B      B    B      BB  /        BBB      B  B 

"    B   B      BBB  :  BBB      B  B 

B    B      BBB  BBB      B  B 

B B B B B B B B B B  BBBBBBBBBB 
B.jB      BBB  ..,  I    ■      BBB  .  B 

lHBBHBBBBBB^l.^CBBBBBBBBBBLJCDa 


10 


14 


24 


Fig.  723. 


KOBCCBBBC"  B   B      BBB   '  "B 
B      BBB  Jl  B   B  BC  BBB  1 
BBB      BBBB  BBB 

:  BBB  B  B  CBOBGGBBB 
BBB'     B   B      B  JCBDBLjCBB 

BBCCBCBDDBBBCDBDBCCB 
B  1  B  B  J:  'BBBBBGGBCB'  .  J 
□CBCBDDBBBOBBBDDB   B  ] 
B   B:      BBB  i;  il  BBB1  '    B  B 

IBCBGCBBBOaBCOBBBCCBG 

l  10  -0 


Fig.  724. 


in 


iv 


4 □ □ □ □ □ B  B  B  B  B  B  B  B   B   B "B  BBBBEHHQ 
;'  B    B   B    B    BBBB  BBB  BB    B    B  BC 

:3BBB   BBB1  B  BBBBBBBB 
II  i  i-  i  1.  .B.  .B.  B   BBBBBBBBB  fl  .B-'BCB 

1      4  la  a)  2* 


Fig.  725. 


Weave  Fig.  722  illustrates  still  another  step  in  the  figuring  of  rib-weaves,  observing  for  the 
general  arrangement  2  face  picks,  to  alternate  with  one  rib-pick.  Repeat  of  weave :  24  warp- 
threads  and  21  picks;  rib  I  is  produced  by  every  third  pick  with  the  first  4  warp-threads,  and 
rib  II  by  warp-threads  5  to  24,  with  two  successive  picks  our  of  three  picks  in  repeat  of  arrange- 
ment, and  interlacing  as  face-weave  with  the  regular  7-harness  corkscrew. 

Fig-  723.    Repeat  of  weave:  28  warp-threads  and  20  picks. 

This  weave  illustrates  the  application  of  a  pointed  twill  for  face-weave  of  every  other  rib,  I, 
III,  etc.  Every  even  numbered  rib,  II,  IV,  etc.,  is  produced  by  4  warp-threads  ;  one  pick  floating 
on  the  face  over  all  four  warp-threads  (rib-pick  in  the  adjacent  ribs)  to  exchange  with  one  pick 
interlacing  on  common  plain. 


145 


Fig.  724  illustrates  the  face-weave  for  Fig.  723,  as  used  for  rib  I  and  III.  Repeat:  20  warp- 
threads  and  10  picks,  and  is  the  pointed  twill  derived  out  of  the  j — l— 2 — 5_ -2  10-harness,  uneven- 
sided  twill. 

Weave  Fig.  725  illustrates  a  rib-weave,  constructed  in  four  changes.  Repeat:  2 8  warp-threads 
and  4  picks. 

The  next  sub-division  of  rib  weaves  embraces  the  diagonals.  These  can  be  further  classified 
into  two  divisions.    Those  designed  with  an  extra  rib-pick  and  consequently  an  extra  face-pick 


2-o^aaaaaaaan 

■  ■■■■■ 
1  aaaaaaaa  i 
1  1  1  ■  1  1  1 
i  aaaaaaaa  :  ;  1 
r  ■  ■  a  ■  ■ 
aaaaaaaa 
■□■□■[  ■  ]■□■□ 
aaaaaaa  a 

■  ■■■■■ 
aaaaaa       a a 

■  ■  ■  mm  m 
aaaaa  aaa 

■  ■  ■  ■ 
aaaa  aaaa 

aaa  aaaaa 

■  ■■■■■ 

a a  aaaaaa 

■  ■  ■  ■  ■  a.j 

a  aaaaaaa 

■  ■■■■■ 

aaaaaaaa 
\u.  m  m  .■._.■!_■□ 

1  12 

Fig.  726. 


^•-'□aaaaaaaaaaaaaan 
■■    ■■    ■■    ■■  1 
aaaaaaaaaaaaaa 
■■  ■■  ' 

HHsaaaaaaaaaa  a 

■  ■■  .  ■■  ■■  ■ 
aaa::;::::::;;:;;;:::  aa 

■■  ■■  ■■  ■■ 
aaaaaaaaaaa  aaa 
[  ■■  :  mm  '  ■■  ■■  i 
aaaaaaaaaa  aaaa 
■■  ■■  i 
aaaaaaa;:::  aaaaa 

■  ■■  ■■  !  ■■  ■ 
aaaaaaaa  aaaaaa 

!  .  ■■      ■■      ■■  ■■ 

aaaaaaa.  i  aaaaaaa 
am  :i  mm  n  :■■  ■■  ; 
aaaaaa  aaaaaaaa 
■■  ■■  mn  mm  i 
aaaaa  •  aaaaa;:;:;:;: 

■  '  ■■  1  ■■  :  ■■  ■ 
aaaa  aaaaaaaaaa 

■■  ■■  ■■  ■■ 
aaa  :aaaa 
1  ■■  ■■  ■■  ■■  1 
aa  aaaa;;;:;::;::;;;;:: 
■■  ■■  ■■  ■■ 
a  a::::::;:::::::::aaaa 
■□□■■□□■■□□■■[  i[  ■ 

aaaaaaaaa;;:;::;;;; 

■■■■■■■■ 
1  10 


Fig.  727. 


i33aaaa^Hr«DBnn 
□■□■□aaaaaai  ■ 
aaaa  ■  ■  ■  aa 
■□■□aaaaaa  ■  i 
aaa  ■  ■  ■  aaa 
■  aaaaaa  ■  ■ 
□□□■□■  ■  aaaa 
■□aaaaaa  ■  ■  i 
a  ■  ■  ■  aaaaa 
1  aaaaaa  ■:  .■  ■ 
□■□■r«  aaaaaa 
aaaaaa  ■  ■  ■ 

ii  ■  ■  ::;:;:;:;;:;. 

Fig.  728/ 


i'jaaaaaaaa^r  ■■  ■■ — a 
■■  ■■  aaaaaa::;::: 
aaaaaaa  ■■  ■■  a  a 
■  ■■  aaaaaaa;;;:  ■ 
aaaaaa  ■■  ■■  aaa 
■■  aaaaaaaaa  ■■ 
aaaaa    ■■    ■■  aaaa 

■■    aaaaaaaaa  ■■ 
aaaa    ■■    ■■  aaaaa 
am     aaaaaaa:;:;  ■■ 
aaa    ■■    ■■  aaaaaa 


a    ■■     ■■  aaaaa:::;;; 
i  aaaaaaaaa    ■■  ,t  ■■  i 
(    ■■    ■■  :  aaaaaaaaa 
aaaaaaaa;:    ■■  ■■ 
1  ■■□[  ;■■□[  .aaaaaaaaaa 


Fig.  729. 


(see  Figs.  726  and  727),  and  the  diagonal  rib-weaves  in  which  every  pick  is  used  partways  for 
"  rib-pick,"  and  partways  for  face-pick.    In  this  manner  weaves  Figs.  728  and  729  are  constructed. 

Weave  Fig.  726  has  for  its  repeat  12  warp-threads  and  24  picks.  The  face-picks  interlace 
in  common  plain,  while  the  rib-picks  float  under  8  and  above  4  warp-threads. 

Weave  Fig.  727  requires  for  its  repeat  16  warp-threads  and  32  picks.    The  face-picks  have 

for  their  weave  the  -  s  4-harness  twill,  while  the  rib-picks  in  their  repeat  in  16  warp-threads 

float  under  14  and  over  2  threads. 


Fig.  730. 


'■■■■■•■■■a  ;■■■□■■■□■■ 

□qbdq.  ■  ,    ■  3.    m      m:  :■ ;:  :■□ 

■□□□■□"  .■"":.!""..  ""□■"□□ 

■  ■■■  ■■■  mam  mmm  mmm  mm 

l;  ■      ■      ■      ■      ■::  aa  i 

■  .    ■      ■    .  .-■  )    m::  i:m 
■□■■■□■■■□■■■□■■■□■■■  ■■ 
!■      ■      ■      «a  aa      ■  i 
■■■□■■■□■■■□■■■□■■■□■■■a 

■□□□■□□□■□□□■QUEMDDDB  □ 
■□■■■□■■■□■■■□■■■□■■■□■■ 

DCM'Z  m  □■□□□■□□□■□□□■□ 
■■■□■■■□■■■□■■■□■■■□■■■□ 

■  ■      ■::  aa      ■  ■ 
■□■■■□■■■□■■■  ■■■  mmm  mm 

ib      ■;■:;:■      ■      ■      ■  j 

■  ■■    ■■■    ■■■HUB    ■■■    ■■■  ] 

■  ■::  as      ■      h  ■ 

■  ■■■  mmm  mmm  mmm  mmm,  mm 
■a  aa      ■      ■      ■  ■ 

■■■  ■■■ 

laacaa  ;□□■□□□■!  '£-,□■□_-□■□□□ 

1  14 

Fig.  731. 


:    ■■■    a  a 

1  ■  aaa  aaa 
■■■  1 

■  aaa  aaa  i 

■  '  a  :  mmt 

aaa  aaa  ■ 
c  a  □:  a    ■■■  i 
aa  aaa    ■  i 

[  ,   ■■■  .HI 

!  aaa    ■  ■ 
i  a    ■■■  ■■■ 
a  a    ■      ■  a: 
■■■  ■■■  a 

■      ■  aaa 


■  aaa  a; 

■  a  a 
aaa  aaa 
a      a  1 

aa  aaa  i 
■■1 
aaa  ■ 
■■■  1 
aa    ■  1 
■■■  ■■■ 
■  ■ 


]■■■□■■■ 


a a ■■ 

a  a  aaa  mn 
mmm  i 
aaa  ■ 
ac:  ■■■  ■■ 
aa  .  ■  ■ 
■■■  ■■■  1 

■  ■  :  a 
■■■1  ■■■  a 
■  ■  aaa 
■□■■■□nam 

a  a 
Lit  a 
aaa 
!  a    .  a 
a:;::  aaa 

HCODHDGBB 

a  aaa  ■ 
■■■  1 

aaa  ■ 

a    ■  ■ 

i 

■  ■  a 
mm  mmm  1  a 

■  aaa 
■■■    a  '  j 

■  aaa  a 
■■    a  a 

:  aaa  aaa 

a  '  a 
aaa  aaa 


Fig. 


732. 


Weave  Fig.  728,  as  previously  mentioned,  is  a  rib-weave  in  which  every  pick  is  used  part- 
ways  for  "  rib-pick,"  and  the  remaining  part  forming,  by  interlacing  with  the  warp,  the  face- 
weave.  Repeat:  13  warp-threads  and  13  picks.  Width  of  rib-float  6  warp-threads,  exchanging 
with  7  warp-threads  interlaced  on  plain  weave. 

In  weave  Fig.  729  the  same  principle,  that  of  using  each  pick  for  rib-float  and  face-pick,  is 
observed.  For  face-weave  a  common-twill  is  used.  Repeat:  19  warp-threads  and  19  picks. 
Rib-float  is  9  threads,  and  interlaces  in  warp  for  face  ^ — - — 5 — ~ — 2  —  10  threads. 


146 


Another  method  of  producing  rib-weaves  is  to  combine  regular  double  cloth  at  certain 
places  with  a  single  cloth.  In  such  cases  the  fabric  when  forming  double  cloth  will  not  be 
stitched  together,  as,  for  example,  weave  Fig.  730.  Warp-threads  1,  2,  3  and  4  form  a  common 
plain  rib-weave  or  single  cloth,  while  warp-threads  5  to  12  interlace  (without  binding)  with  the 
filling  on  the  regular  "  double  plain."    Repeat  of  weave :  12  warp-threads  and  4  picks. 

These  rib-effects  in  double  cloth  can  also  be  produced  entirely  by  the  binding  of  both 
single-cloth  fabrics.  It  may  be  arranged  to  form  ribs  in  the  direction  of  the  warp  and  effects  in  a 
diagonal  direction  as  shown  in  Fig.  731.  Repeat:  24  warp-threads  and  24  picks.  ■  represents 
the  weave  for  regular  double-plain  and  a  shows  the  stitching  of  both  fabrics  in  a  diagonal  direc- 
tion for  the  required  rib. 

Another  step  for  producing  rib-effects  in  double  cloth  is  taken  by  exchanging  the  face-cloth 
with  the  back,  and  the  back  with  the  face.  This  method  of  exchanging  may  be  arranged  to  run 
warp- ways  (vertical)  or  in  a  diagonal  direction.  For  illustrating  this  method  Fig.  732  has  been 
designed.    Repeat :  16  warp-threads  and  16  picks. 

Fabrics  produced  by  means  of  weaves  designed  on  the  regular  double-cloth  system,  such  as 
weaves  Figs.  730,  731  and  732  and  other  similar  weaves,  do  not  have  the  rib-effect  appear 
so  prominent  as  in  the  case  of  the  preceding  weaves,  all  of  which  contain  the  peculiar  pick 
known  as  rib-pick \  rib-float etc.,  and  which  assists,  for  the  reasons  given,  to  such  a  great  extent  in 
making  the  rib-effect  prominent. 

THREE-PLY  FABRICS. 

It  will  be  readily  understood  by  any  one  that  has  carefully  studied  the  structure  of  two-ply 
fabrics  that  by  the  same  method  and  principles  employed  in  combining  two  single  cloths  into  one 
fabric,  known  as  two-ply  or  double  cloth,  three  such  single-cloth  fabrics  can  also  be  combined 
into  one  fabric. 

In  the  construction  of  a  3 -ply  fabric  a  regular  set  of  warps  and  filling  for  each  of  the  three 
single  cloths  is  required,  thus  dealing  with  three  systems  of  warp  and  three  systems  of  filling  in 
designing.  To  impart  a  more  perfect  understanding,  the  construction  of  a  3-ply  fabric  from  its 
beginning  to  the  finished  weave  is  shown,  and  for  this  purpose  three  single-cloth  fabrics  inter- 
laced on  the  plain  weave  are  selected. 

□□□□□□□□□□□□□□□□ 

[_:■    JJ    a     .  ;i  :u:_.l;  ,lU 
lOBBDCDLOHDCDDnHCD 

□□□□□□□□□□□□□□□a 

□□□□□□□□□□□□□□□a  □□□□□□□□□□□□  laaaDacBCDCDDi  i2ksx-:g^"~gi3kis 

^■□□■□□□□□BCDGCD  □□□□□□□□□□ED   ■  H  J  K-iHLX-Ji  i! 

□□□□□□□□□□□□□□CD  □□□BOXJLiCHLLJ  :   K  h  ;j 

□□□□□□□□□□□□□□□a  □□□□□□□□□□□□  ^□□■□□□□□Bnna  BKiBKiKiaEKH&Ka 

4i:  !         h._.   ...  j  1.  h    i  8nHcncnaanana  □□□□□□□□□□□□  ixiHaKaaanasnG 

□□□□□□□□□□□□□□□□  SS  E8  i 

□□□□□□□□□□□□□□m  □□□□□□□□□□□□  ennnQDHLDcnnB  <"■: :  •:    :•:  . 

iMDDHacDnnBcnam  snDanaDDGman  □□□□□□□□□□□□  KDG^EinKDOgiaa 

□□□□□□□□□□□□□□□□  □□□HnaancHaa 

□□□□□□□□□□□□□cm  □□□□□□□□□□□□  8nnBaDnDDBDnn  ^mwawmwa 

□□□□■□□■□□^□□■□n  2nHnnaanBDDna  □□□□□□□acnna  KiaaKanKiaaKina 

□□□□■□□■□□■□□■□a  □□□□□□HGDDGD  iBaaanaHaaDna 

Fig.  733.  Fig.  734.  Fig.  735.  Fig.  736. 


Fig.  733  illustrates  the  first  set  of  the  plain  weave,  or  the  weave  for  single  cloth  number 
one  (■  type).  Warp  and  filling-threads  used  are  numbered  on  the  left  side  and  the  bottom  of 
the  design,  and  are  indicated  by  a  type.  "  One  thread  taken  and  two  missed  "  in  each  system  for 
the  other  two  single  cloths. 

Fig.  734  illustrates  by  □  on  warp- threads  2,  5,  8,  11  and  on  the  corresponding  picks,  the 
interlacing  of  the  single  cloth  number  two  (plain  weave). 

In  Fig.  735  the  interlacing  of  the  third  or  last  single  cloth  is  shown  on  warp  threads  3,  6,  9, 
12  and  the  same  numbered  picks  (a  the  type  used). 

Next,  raise  for  the  picks  of  the  lower  single  cloth  (in  the  3-ply  structure)  each  warp- 
thread  of  the  two  upper  cloths  (face  and  interior  cloths) ;  also,  raise  the  warp-threads  of  the  face 


147 


cloth  on  the  interior  picks.    This  method  of  operation  is  illustrated  (successively  from  Fig.  735) 
in  weave  Fig.  736  by  k  type. 
In  this  is  shown  : — 

Pick  1,  first  pick  of  face  cloth. 

"    2,    "         "      interior  cloth  (face  raised). 

"    3,    "         "      back  cloth  (face  and  interior  raised). 

"   4,  second  "      face  cloth. 

"5,     "        "       interior  cloth  (face  raised). 

"   6,     "        "      backed  cloth  (face  and  interior  raised). 
And  thus  the  repeat:  6  warp-threads  and  6  picks,  allows  2  warp-threads  and  2  picks  for  the 
structure  of  each  fabric.    Weave  Fig.  736  thus  produces  three  distinct  single  cloths  resting  in  the 


Fig.  737. 


loom  after  being  woven  one  above  the  other,  as  shown  in  the  sectional  cut  in  diagram,  Fig.  737. 
The  next  process  is  the  combining  of  these  three  single  cloths  into  one  fabric,  which  is 
i2BBnMMsn«M  technically  known  as  the  "  stitching."  To  effect  this  in  a  proper  manner  combine  the 
\  ■  backing-cloth  to  the  interior  cloth,  and  this  in  turn  to  its  face. 

B      j         In  weave  Fig.  738  this  method  of  "stitching"  is  clearly  indicated.    In  this 
%  i  figure  the  n  type  illustrates  the  three  single-cloth  fabrics,  equal  to  the  weave  illus- 

iBHnnjDHDDnan  trated  in  Fig.  736  by  four  different  characters  of  type.    In  Fig.  738  a  illustrates  the 
Fig.  738.      stitching  of  the  interior  cloth  to  the  face-cloth,  and  the  a  the  stitching  of  the  back- 
cloth  to  the  interior  cloth. 


Fig  739- 


Diagram  Fig.  739  illustrates  the  section  of  a  3 -ply  fabric  interlaced  by  means  of  the  weave 
previously  shown  (Fig.  738). 

FOUR  AND  FIVE-PLY  FABRICS. 

Sometimes  it  is  desired  to  have  produced  fabrics  constructed  out  of  more  than  three  single 
cloths. 

Weave  Fig.  740  clearly  illustrates  the  construction  of  a  4-ply  fabric. 
The  ■  type  represents  the  interlacing  of  the  four  single  cloths. 


148 


■  on  picks  I  and  9  illustrates  the  stitching  of  the  second  cloth  to  the  face  (or  first)  cloth. 

s  on  picks  2  and  10  represents  the  stitching  of  the  third  cloth  to  the  second. 

b  on  picks  7  and  15  illustrates  the  stitching  of  the  back  cloth  to  third  cloth,  and  which 
•completes  the  stitchings  of  the  four  single-cloth  fabrics  into  one,  and  technically  classified  as 
«  four-ply." 

20BBBBnBBBB@SSBSnBBBM 

mmm  -a 

IV  ¥33  m-V  113   'Mil   MM!  1UJ 
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legpmFiNjmn^iOBBBB  BS8BB13BBRBBBBBIBBSR 
mmaa  » » la^  »  11  ijbbbp  i:  fi* :> 1:  ;  :  «h  !  ! I;  f  :  !  it  -  H 


ii  IL!f  ]l  ]l 


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M  'MM    M!  li  I.jMI  1MMMMMMMUD 


i  i  r  ^  ih  o  i  ;   it  i-i  emmmummi  i      immi  i.  o  immi  ip 

!'    I'  «  :  BHD  IBSI  DBDGOD 

1bbpppppgppbjpppppppp 
Fig.  740  Fig.  741. 


Weave  Fig.  741  shows  the  construction  of  a  5-ply  fabric. 
§  type  represents  the  interlacing  of  the  five  single  cloths. 

■  type  on  picks  1  and  1 1  illustrates  the  stitching  of  cloths  1  and  2. 
s  type  on  picks  2  and  12  illustrates  the  stitching  of  cloths  2  and  3. 
a  type  on  picks  8  and  18  illustrates  the  stitching  of  cloths  3  and  4. 

■  type  on  picks  9  and  19  illustrates  the  stitching  of  cloths  4  and  5. 

And  thus  closes  the  complete  stitching  of  the  five  single-cloth  fabrics  into  one,  technically 
known  as  "  five-ply." 


Pile  Fabrics- 


Textiles  classified  as  "  pile  "  fabrics,  form  a  separate  sub-division  of  woven  articles,  and  are 
characterized  by  the  soft  covering  which  generally  overspreads  and  conceals,  to  a  great  extent, 
the  interlacing  of  the  warp  and  the  filling.  In  this  division  of  textiles,  are  to  be  found  some  of 
the  grandest  and  most  complicated  products  of  the  loom.  In  every  pile  fabric  one  series  of 
threads  is  employed  for  producing  the  ground  of  the  fabric,  while  a  second  forms  the  pile,  so  that 
two  distinct  systems  of  warp  or  of  filling  are  always  necessary  in  the  manufacture  of  these  fabrics. 

Technically,  they  are  divided  into  pile  fabrics  in  which  the  pile  is  produced  by  an  extra 
filling,  and  pile  fabrics  in  which  the  pile  is  produced  by  a  separate  warp  in  addition  to  the 
ground  warp.  The  greatest  variety  of  effects  can  be  produced  in  the  latter  sub-division,  and 
fabrics  produced  on  this  principle  of  weaving,  find  a  very  extensive  use. 

Pile  Fabrics  Produced  by  Filling. 

Velveteens,  Fustians,  Corduroys. 

These  fabrics  require  for  their  construction  one  kind  of  warp ;  also,  in  most  fabrics,  one  kind 
of  filling.  If  one  kind  of  filling  is  used  the  same  is  consequently  employed  for  the  "  pile  "  picks  and 
the  "ground  "  or  "  foundation  "  picks  of  the  pattern.  If  two  kinds  of  filling  are  used,  one  kind  is 
employed  for  the  pile  and  the  second  kind  produces  the  foundation-^loth.  In  preparing  the  design, 
the  arrangement  for  the  ground  and  pile  picks,  is  either  alternately  one  pick  pile,  one  pick  ground, 
or,  two  picks  pile,  one  pick  ground,  or,  three  picks  pile,  one  pick  ground,  four  picks  pile,  one  pick 
ground,  etc.  The  arrangement  indicated  as  the  second  method  is  the  one  most  generally  used. 
For  the  ground  structure  of  the  fabric,  "  the  plain-weave,"  or,  "  the  double  plain,  warp-ways,"  or, 
"the  3-harness  twill,"  or,  "4-harness  even-sided  twill,"  are  the  ones  most  frequently  used.  In 
any  of  these  cases  the  filling  for  the  pile  is  floating  over  3,  5,  7  or  more  warp-threads. 

The  floats  of  the  pile  are  afterwards  cut  open  with  a  knife  constructed  especially  for  it.  This 
method  of  cutting  the  pile  for  the  fabrics  is  old,  and  dates  back  to  the  beginning  of  the  fifteenth 
century. 

Cutting  the  Pile  by  Hand. 

This  procedure  is  as  follows :  The  fabric  is  stretched  on  the  cutting  table,  which  has  (in  most 
instances)  a  length  of  from  55  to  70  inches,  and  is  fastened  to  it  by  means  of  clamps.  Next,  the 
cutter  takes  his  knife  for  cutting  the  pile,  which  consists  of  a  long  steel  bar  formed  into  a  very 
sharp  knife  at  its  end,  and  provided  with  a  guide,  consisting  of  a  narrow  piece  of  sheet-iron 
doubled  and  forming  a  groove,  fitting  on  the  knife ;  the  part  of  this  piece  of  sheet-iron  extending 
from  the  knife,  is  formed  into  a  needle,  of  a  length  which  is  regulated  by  the  length  of  the  pile  to 
be  cut.  The  cutter  inserts  the  needle  into  the  row  of  floats  which  is  nearest  to  the  selvage,  and 
pushes  the  knife  (in  direction  of  the  warp)  through  the  entire  floats  in  the  one  direction  ;  the  next 
row  of  floats  is  treated  in  the  same  manner,  and  this  is  continued  until  all  the  rows  are  cut.  In 
the  lower  grades  of  these  fabrics,  only  every  other  row  of  floats  is  cut,  and  consequently  the 
thickness  of  the  pile  is  reduced  in  proportion.  Again,  stripes  of  cut  and  uncut  pile  (regulated  as 
to  dimensions  in  width  entirely  at  will)  are  produced. 

After  cutting  open  the  pile  over  the  surface  of  the  table,  the  clamps  are  opened  and  the  next 
length  (of  55  up  to  70  inches)  is  fastened.  This  process  is  repeated  until  the  entire  piece  has  its 
pile  cut.  Every  length  of  the  table  generally  calls,  in  the  lower  qualities,  for  500  to  600  runs, 
while  the  better  grades  require  from  800  to  1200  runs  in  a  single  width  of  those  fabrics.  This 

(149) 


150 


cutting  by  hand  is  naturally  a  very  slow  and  expensive  job.  (Flour-paste  is  often  applied  to  the 
back  of  the  fabric,  so  as  to  make  the  cutting  of  the  pile  easier  and  safer.) 

Of  late  years,  machines  have  been  invented  to  cut  this  pile  and  have  proved  successful  to  a 
certain  extent. 

After  cutting  the  pile  and  subsequently  mending  any  imperfections,  either  produced  during 
the  process  of  weaving  or  cutting,  the  fabric  is  turned  over  for  the  dyeing  and  finishing. 

Designs  for  Weaving  tlicse  Fabrics. 

As  mentioned  already,  one  warp  is  used  both  for  interlacing  the  ground  and  binding  the  pile- 
filling.  The  ground-weave  is  generally  either  □■  or,55Sn  or,  ■□■  or,  etc.,  while  the  pile-filling 
is  floating  3,  5,  7  or  more  ends.  umm3 


ii  '■:  ] 
;a  a 
■  1 


H   H    K  H 

■  ■ 

I  '  ■  ■ 

ia  a  a  a 


Fig.  742. 


Fig.  743. 


Fig.  744. 


Fig.  742  represents  a  common  weave  used  for  these  fabrics,  and  constructed  with  a  texture 
of  4  warp-threads,  6  picks  in  one  repeat  of  the  pattern,  h  are  the  pile-picks,  □  the  ground-picks. 
Pile,  1  up,  3  down.    Ground,  "%plain,"  two  picks  pile  to  alternate  with  one  pick  ground. 

Fig.  743  represents  the  sectional  cut  of  the  woven  fabric  before  the  pile  is  cut. 

Fig.  744  represents  the  corresponding  section  with  the  pile  cut.  The  letters  and  numbers  in 
both  designs  are  identical. 

Pick  A  is  the  ground  pick.  1  up,  1  down,  to  be  exchanged  in  pick  4  (not  represented  in  the 
drawing)  by  1  down,  I  up.  Picks  B  and  £7 are  the  pile  picks,  which  are  duplicated  in  every  repeat 
of  the  weave.  Arrow  5"  in  Fig.  743,  represents  the  place  for  the  cutting  of  the  pile  for  pick  B. 
S,  in  Fig.  744,  represents  the  pile  as  cut.  Arrow  S1,  in  Fig  743,  marks  the  place  and  direction  for 
cutting  the  pile  for  pick  C.  Sl,  in  Fig.  744,  represents  the  pile  as  cut.  In  Figs.  743  and  744 
the  ground  pick  is  shown  outlined,  while  Fig.  743  has  the  one  pile  pick  B  marked  black,  and 
the  other  pick  C  illustrated  as  shaded.  Fig.  744  illustrates  both  pile  picks,  and  equally  represen- 
ted in  black. 

This  change  in  Fig.  743  has  been  made  to  simplify  the  construction  of  the  fabric  and  for 


the  benefit  of  the  novice  in  designing. 


■nnnannn 

■         B  I 

a  a  1  a  a  i 
■      ■  1 
a  a 

(    aa.    a  a 
11 
1  ■:      ■  . 

aa  aa 

B  B  i(  ::  ] 
IB  ■ 

aa'  ;_aa 


Fig.  745. 


■nnnnrannnnn 

■  B 

a[  a  a  a  a  a 

B  B 

B  B  "I 

a  a  a  a  a  a 

B  B 

b  a 

ana  a  a  a  a  , 

B  B 

,!  b  a 

1  □□□□□□□□□□□ 

1  C| 

Fig.  746. 


■□□□□□■□□□□n 
a         a  1 

aa  aa  aa  aa  i 

a  .  i  a  nLiji  i 
r.  a  n  m  i  a  if  i 

a  aa  aa  aa.  a 

a         ■  ••••;•) 

i  ' '  a  a 
aa  aa  aa  aa 

a  a 

a  a  1 

aa  aa  aa  aa 

a  a 
b  a 

a  a  a  a  a  ,aa  a 

a      ;  a 
1    a       ■  ii  a  11 1 

□HHDQEJDHHDHa 

Fig.  747. 


■□□□□□□□■□□□□□□a 

B  B 

□□■□□□□□□□■□□□□a 
□□□□□□■□□□□□□□■a 
a  a  a  era; a  a  a  i 
a  ^□□□□■□□□□□□r  i 
□□□□■□□□□□□□■□□a 

if  BaDDDDCDBD 


Fig.  748. 


Fig.  745. — 4  warp-threads,  6  picks  in  I  repeat.  ■  equal  pile-picks,  a  equal  ground-picks. 
Pile  is  produced  on  1  up,  3  down.  Ground  is  produced  on  the  common  4-harness  rib-weave  -  -2. 

Fig.  746  represents  a  weave  executed  on  6-harness  and  6  picks  repeat ;  using  for  pile-filling 
(■)  1  up,  and  5  down,  while  the  ground-cloth  is  formed  on  the  plain  (□). 

Fig.  747  is  designed  for  6-harness,  with  9  picks  in  one  repeat ;  ■  for  pile-filling,  □  for  ground- 
filling.    Pile,  1  up,  5  down.    Ground  weave,  3-harness  twill,  warp  up. 


151 


Fig.  748  represents  a  draft  for  a  velveteen  fabric,  having  4  picks  of  pile-niling  to  1  ground- 
pick ;  the  pile-filling  floating  over  7  warp-threads.    The  ground  is  interlaced  on  plain. 

A  careful  examination  of  this  draft  will  show  the  possibility  of  obtaining,  by  means  of  the 
latter,  a  fabric  which  will  take  up  the  filling  easily  and  yet  hold  the  pile  very  strongly  to  the 
ground-fabric ;  a  point  which  is  of  great  advantage  in  producing  a  firm  and  perfect  fabric ;  a  velvet 
resisting  the  wear  these  fabrics  are  subjected  to  so  frequently.  This  draft  is  designed  for  a  high 
number  of  picks  to  one  inch ;  therefore,  if  the  weight  should  have  to  be  lowered  on  account  of 
a  considerably  less  number  of  picks,  this  weave  must  be  changed  accordingly,  so  as  to  bind  differ- 
ently. For  example,  take  picks  7,  8,  9,  10,  and  move  the  raisers  one  thread  toward  the  right 
hand.    If  a  sufficient  number  of  picks  are  not  in  a  fabric  to  warrant  the  binding  of  the  pile  solidly 

.,■  ]  ]   ■  EE      HH      HH  HH 

□□□■□■□□□□□□□■□■□□□a  can  oBBaEBnBBGBB 1  m  ' 

■   ■  H    HH    HH    HE  ,H  I        ■  i   ■  i 

H    H   E    H   H   H    H    H   H   H  !  t  .        ■  ■  ;  ■        i  |    ■  ,  □udaHnnGHHaHGQTH 

■   ■  ■    ■  lU  ■  ■  E   EE   HH   HE   H  ■  ■  i 

□■□□□□[::□;■;■□■□□□□::□□■  1  he  he  he  he  1  1  -  ee    he    he  he 

ICjEDEDEnEDEnEnErJEDEDE  lDEBLZDEECOBBJCEBn 

Fig.  749.  Fig.  750.  Fig.  751.  Fig.  752. 


to  the  ground-cloth,  by  means  of  binding  the  former  to  the  latter  with  one  end,  two  ends  up  and 
separated  by  one  thread  down,  must  be  used.  In  this  manner  weave  Fig.  749  is  executed,  having 
five  plush-picks  to  each  ground-pick.  Repeat:  10  warp-threads,  and  12  picks.  The  float  of  the 
pile  is  over  7  threads,  and  each  pile-pick  is  interlaced  to  the  ground  fabric  by  1  up,  1  down,  1  up. 
All  the  pile-picks  interweave  under  the  same  warp-threads  (use  every  alternate  warp-thread), 
while  one  of  the  two  ground-picks  intersects  over  the  latter.  This  arrangement  in  the 
design  allows  the  picks  to  go  easy  in  the  fabric  and  naturally  adapts  itself  for  high  filling 
textures. 

The  proportion  of  the  pile-picks  to  the  ground-picks  is  always  regulated  by  the  required 
closeness  of  the  pile. 

Fig.  750  shows  the  design  for  a  3-harness  (-  r)  twill-ground  in  connection  with  3  pile-picks 

to  1  ground-pick.    The  design  repeats  with  6  warp-threads  and  12  picks. 

Fig.  751  has  2  picks  pile,  1  pick  ground;  the  design  repeating  with  6  warp-threads  and 
9  picks.  Designs  Figs.  748,  749,  750  and  751  have  pile-picks  indicated  by  ^  and  ground-picks 
indicated  by  e. 


^■□□□□□□□□■□□□□□□□a 
■       :i  ]□□□■□□□□□ 
r  ■  ■ 

EH   HH    HE    HE   EE  EE 

■□□□□□□□□■□□□□□□□a 
□□□■□□□□□□□□■□□□□a 

■  ■ 

E    HE   EE    EE    HE    HE  H 

■□□□□□□□□■□□□□□□□n 
u  nm:j\ ,    ;u      ■  j 

, 

iDEBDEBnEBnBBDBEDEE 


□□□■□□□□□□□□■□□□□a 

EDEDEnBaBnEnBDEDBn 

■  ■ 
■  ■ 

inBDBnEDBaBDBDBDBDB 


J   ■ ■  ■  —. 

mm  mm 

■  .a  .B!  jEUE  h  h  e  e  ,b  e 

■  ■                   B   ■  ) 

□  □□□□■□■□□LJ..    .  J     ■     ■  ] 

IE   H    E    H   E   E   H  [:   H   H  I 

1  10 


Fig.  753. 


Fig.  754. 


Fig.  755. 


Fig.  752  represents  the  float  1  f  for  the  pile,  (■)  interlaced  in  a  ground-fabric  woven  on  the 

4-harness  even-sided  twill  (0).    The  arrangement  of  the  pile  towards  the  ground  is  2  to  1. 

Fig.  753  illustrates  the  plain  ground  in  connection  with  the  pile-floating,  g.     3  picks 

pile  to  I  pick  ground;  ■  for  pile,  0  for  ground,  in  design.  Repeat  of  weave:  18  warp-threads,  8 
picks. 

Fig.  754  shows  one  of  the  most  frequently  used  designs  on  a  repeat  of  9  warp-threads 
and  12  picks.  3  pile-picks  to  1  ground.  ■  for  pile,  0  for  ground.  Float  of  the  pile- 
filling  1  g. 

Fig.  755  illustrates  the  plain  ground  with  the  pile  1~i — — 7.  2  pile-picks  to  alternate  with  1 
ground-pick.    Repeat  of  design  :  10  threads  in  warp  and  6  picks.    ■  for  pile,  0  for  ground. 


152 


Having  given  a  complete  idea  of  the  construction  of  plain-faced  fabrics,  our  attention  is 
next  directed  to  corduroys. 

Corduroys. 

These  fabrics  have  stripes  running  the  length  of  the  stuff,  but  may  also  have  them  running 
in  a  diagonal  direction.  Again,  they  may  form  figures  of  any  description.  If  forming  the 
regular  cords,  they  may  also  be  made  to  vary  in  widths. 

Weave  Fig.  756.    10-harness  and  6  picks  8g3BSBRS5BBRRSSBR8S£5RBBB 
h  n  a  a  a  a  a  a  a  hj     repeat  oi  paiiein.   vjrouna-iaDric  is  a  piain-weave, 

■         hi         ■     ]  r  '      ■□□□□□□■□□□□■□□□qv;l  )■□□□□ 

iDBGBJauB^BrS^au5jBZ]B     pile-float,  1— g — x— ¥     2  pile-picks   to    I   ground-     iy"aa.raB  :.:bb  faa^BBJlBa 

Fig.  756.  pick.    ■  for  pile,  b  for  ground.  Fig.  757. 

Weave  Fig,  757.  12-harness  and  8  picks  repeat  of  pattern.  Ground-fabric,  a  double  plain- 
weave,  warp-ways,  pile-float,  — g — — 4.    3  picks  pile  to  1  pick  ground.    ■  for  pile,  b  for  ground. 


Chinchillas — Whitneys.    (Plain  and  figured  effects.) 

These  fabrics  are  produced  upon  weaves  similar  to  those  shown  in  Figs.  570  to  572.  The  cut- 
ting of  the  pile  filling  is  done  automatically  during  the  finishing  process  by  the  "gig,"  and  the  pile 
thus  cut  is  raised  by  the  "  whipper."  In  the  construction  of  these  weaves,  as  well  as  in  arranging 
the  texture,  little  importance  is  given  to  a  compact,  solid  interlacing  of  warp  and  filling,  especially 
as  the  condition  of  a  soft  and  spongy  nature  is  always  required  in  the  finished  fabric.  In  some  of 
these  fabrics  only  two  kinds  of  filling  are  used,  the  ground  and  the  pile  filling,  while  others  are 
made  with  three  kinds  of  filling — the  ground,  the  pile  and  the  interior  filling.  For  fabrics  of  a 
plain  character  (as  to  face)  use  weaves  such  as  the  4-harness  broken-twill,  the  5 -harness  satin,  etc. 
Filling  for  face,  for  the  interlacing  of  the  pile  or  face  filling,  and  the  same  weave,  arranged  warp 
for  face,  for  the  ground  filling.  Such  weaves  have  been  previously  explained  and  illustrated 
in  Figs.  570,  571  and  572,  page  109. 

Regular  double-cloth  weaves  are  also  used,  arranged  :  1  end  face,  1  end  back,  2  ends  repeat  in 
warp ;  1  pick  face,  1  pick  back,  1  pick  face,  1  pick  interior,  4  picks  in  the  repeat.    For  face- weave 

the  4-harness  broken-twill  is  generally  used  (filling  up).    For  back-weave  the  2  or  -  j  twill. 

On  the  interior  pick  all  the  face-warp  is  raised,  leaving  the  entire  back- warp  in  the  lower  shed,  so 
that  this  filling  will  rest  the  same  as  the  wadding  in  the  pique  fabric — between  the  face  and  back 
cloth  of  the  fabric.  The  object  of  the  interior  filling  is  to  increase  the  thickness  of  the  fabric, 
and  to  cheapen  the  cost  of  manufacture  by  using  a  low-grade  stock  for  it,  which  is  neither  visible 
on  the  face  nor  the  back  of  the  fabric. 

As  previously  mentioned,  fabrics  of  this  kind  must  have  a  soft  spongy  nature  when  finished  ; 
so  care  must  be  exercised  in  not  weaving  them  too  wide  in  the  loom,  as  but  very  little  fulling 
will  be  required.  For  the  stock  for  the  face  or  pile  filling,  select  a  fine  but  short  staple.  After 
fulling  and  scouring,  or  only  scouring,  the  fabric  is  gigged.  The  teasels  cut  the  soft  pile  filling 
in  the  centre  between  the  points  of  interlacing  of  the  latter  with  the  warp,  and  after  running  the 
fabric  over  the  "  whipper "  before  it  passes  to  the  dryer,  the  whipping  process  (beating)  raises 
each  and  every  single  float  of  filling  (fastened  by  one  or  more  ends  of  warp  to  the  fabric)  and 
produces  a  velvet  surface.  After  running  the  fabric  in  this  condition  over  the  shears,  for  the  pur- 
pose of  producing  an  even  height  of  pile,  it  is  put  upon  the  chinchilla  machine  to  have  its  velvet 
face  rubbed,  forming  chinchilla  rows  in  the  direction  of  either  the  warp  or  the  filling,  or  in  a 
diagonal  direction ;  or  forming  round  knobs  known  as  "  Ratine."  The  size  of  the  chinchilla 
effects  or  the  ratine  effect  is  regulated  by  the  height  of  the  pile,  and  this  by  the  shearing  process. 
(Two-  or  three-ply  spun  face-filling  is  of  more  advantage  to  use  than  the  equivalent  size  in 
one-thread  compound.) 


153 


Fancy  or  Figured  Chinchillas. 

These  fabrics  are  produced  by  arranging  the  floats  of  the  pile-filling  so  as  to  form  figures 
(designs)  in  the  way  that  the  above  mentioned  pile-filling  is  fastened  to  the  ground  cloth,  after 
having  its  floats  cut. 

To  illustrate  this  subject  designs  Figs.  758,  759,  760,  761,  762,  763,  764,  and  765  are  given. 


■■■■  ■■■■ 

■■■■    :    ■■■■  : 

■■  '  :  :  '■■ 


1  4 
Fig.  758. 


-  a  h  .a  a  a  a  a  a 
nmmm  ■■■■ 

a  a  a  a  a  a  a  a  i 


a  a  c 
1 ....  1 

1 


Fig 


759- 


■■■■■■  ■■■■■■ 
■■■■■■  ■■■■■■ 

■■■■■■  ■■■■■■ 

■  Mill  ]i     ,  ■■■■■■ 

I     ]  .  ■■■■■■ 

mam    .  ,      ■■■■■■  mmm 
■  ]■■■■■■  .  .  ■■■■■■ 


Fig.  760. 


2^222--,nnan^annnnnnnna^aa 

■  ■■■■■  J  ;  XJ.J  ]l  ] 

a::  aaa  jaaa  aaa  laaa  aaa  ia 


mam 


a: 


1  1 

aaa  1  aaa 


:a  aaa  aaa  ] 
-----  ■■■■■■ 

::;   aaaHaaaa::aa  aa 

aaa  aaa  aaa  aaa  — 


-a 

■■■ 

aa 

□aaa  ;aaa 


aaa  aaa  aaa  aaa  aaa  aaa 


]aaa  .aaa  aaa 


Fig.  761. 


Fig-  758  illustrates  the  face-weave  for  Fig.  759,  the  complete  weave. 
Repeat :  8-harness  and  8-picks. 

■  are  pile-picks,  a  are  ground-picks. 

Fig.  760  illustrates  the  face-weave  for  Fig.  761,  the  complete  weave. 
Repeat:  12-harness  and  8  picks. 

■  are  pile-picks,  a  are  ground-picks. 

Fig.  762.    Repeat :  8  warp-threads  and  8  picks. 
Fig-  763-    Repeat:  12  warp-threads  and  36  picks. 
Fig.  764.    Repeat:  12  warp-threads  and  8  picks. 

Figs.  762,  763  and  764  are  face-weaves  for  fancy  chinchillas,  to  be  arranged  either  similar  to 
those  given  in  Figs.  758  to  761  or  for  regular  double  cloth,  using  face  and  back-warp  with  pile- 


■■■■□□□□■■■■□□□a 
□□□^■■■■□□□□■■u 
□□■■■■□□□□■■■■ja 


■■■■■■! 

'..  : 
□□1 


1 

■■■■ 

■■1 

"□□□1 
■■■■ 

■■■■1 

[  .  ■  .1 
■■■■ 

1 


]■■■■■■□□□□ 
■■■■ 
■■■■■■  ;  j 
mm  .  mm 

■■■■ 
■■■■■■  ..] 


■■ 

1 

L, 


□□□□□□ 


■■■□□"--| 
■■■■■■ 
■■■■■■  ■■! 


■■□□□□J 

■■■■□□[ 

□□□□■■I 


nana 

!■■  ■■ 

■  ■■■  , 
■■■■     ]  J 
I  ■■■■ 

■  ■■  ■■ 


Fig.  762. 


■■■■■■ 


■■■■■■        .  : 


Fig.  763. 


■■■■■■ 


Fig.  764. 


■■  .  .  ■■  ■■■ 
mm  ■■■■■ 

am  ■■■■■ 
■■■■■ j    .  aa 1 
■■  ..J     ■■  ■■■ 
■■  .  .□ 

Hi)  inai 

Fig.  765. 


filling  interior  and  backing.  Fig.  765  illustrates  a  specimen  of  the  chinchilla  weave,  specially 
adapted  for  producing  chinchilla  rows  lengthways  in  the  fabric. 


CHENILLE. 

Chenille  is  a  fringed  thread  and  is  used  either  for  filling  in  such  fabrics  as  curtains  and  rugs, 
or  it  is  used  in  its  first  woven  state  for  ornaments  such  as  trimmings,  fringes,. etc.,  for  ladies'  wear 
as  well  as  for  decorating  purposes.  (In  fringe-weaving  the  chenille  part  of  the  fabric  is  some- 
times produced  at  the  same  time  that  the  heading  of  the  fabric  is  woven.  We  will  later  on 
describe  this  separate  method.) 


154 


When  chenille  is  used  as  filling,  its  fibres  extend  forward  in  every  direction  through  the 
perforations  of  the  fabric,  producing  a  fur-like  surface  on  the  goods  it  is  applied  to.  As  a  general 
rule  for  these  fabrics,  the  chenille  forms  the  main  part  of  the  fabric.  The  remaining  part,  if  warp, 
or  warp  and  filling,  is  only  used  for  holding  the  fabric  in  its  position.  There  are  two  methods 
commonly  used  in  weaving  this  chenille. 

1st.  Using  4  warp-threads  on  common  plain  weave.  2d.  Using  2  or  3  warp-threads  on  the 
gauze  weave.    A  short  sketch  of  each  method  is  given. 

Chenille  Produced  by  Using  4.  Warp-threads  on  Plain  Weave. 

Procure  a  set  of  harness  using  a  plain  weave  (2,  4,  6  or  more  shafts).  In  this  draw  the  warp 
the  same  as  in  regular  cloth.  By  drawing  the  warp  in  the  reed  always  put  the  four  warp 
ends,  which  have  to  work  together,  in  one  dent,  leaving  as  many  dents  empty  as  required,  accord- 
ing to  the  size  of  the  chenille.  The  filling  (which  is  introduced  in  the  ordinary  manner)  is  bound 
in  plain  at  the  places  where  the  four  warp-threads  in  one  dent  are  situated  (see  I,  II,  III  in  Fig. 
766)  and  floated  at  the  distances  where  no  warp-threads  are.  After  weaving  the  fabric  in  this 
manner  it  is  cut  in  the  direction  of  the  arrows  wS  and  S1. 

Two  methods  are  employed  for  cutting  chenille.  It  is  done  either  on  the  loom  during  the 
weaving  operation,  or  after  the  fabric  leaves  the  loom. 


I.  it.  nr. 


«.  <v.  a.  r. 

Fig.  766. 


Every  set  of  4  warp-threads  forms  one  strip  of  chenille,  hence  as  many  sets  as  are  used 
over  the  width  of  the  fabric,  so  many  strips  are  obtained.  In  figure  fabrics  where  each  strip  of 
chenille  is  required  to  be  of  a  different  arrangement  of  colors  for  forming  the  design,  the  number 
of  sets  used  in  weaving  the  chenille  indicates  the  number  of  fabrics  to  be  set  afterwards  in  the 
following  process.  For  example  :  in  weaving  chenille  for  dados  for  turcoman  curtains,  suppose 
140  sets  of  strips  are  woven  at  the  weaving  of  the  chenille,  and  every  pick  of  the  dado  is  to  have 
a  different  arrangement  of  colors,  the  result  will  give  us  70  pairs  of  curtains  to  be  set.  After 
cutting  the  chenille  into  strips  they  are  twisted,  every  4  threads  of  warp  being  thus  formed  into 
one,  with  the  filling-threads  extending  from  it  in  every  direction,  and  giving  it  the  appearance  of 
a  fringed  thread.  This  twisting  tends  to  hold  the  interwoven  filling  firmly  in  the  warp-threadsp 
and  hence,  adds  strength  to  the  fabric. 

Chenille  Produced  by  Using  3  Warp-threads. 

The  process  of  manufacture  here  is  the  same  as  in  chenille  made  out  of  4  warp-threads  on 
the  common  plain  weave.  The  only  difference  consists  in  employing  but  3  warp-threads  for  the 
centre  of  every  part  of  the  chenille  strips,  and  interweaving  the  filling  in  gauze  instead  of  plain. 
This  process,  which  certainly  will  be  found  more  expensive  than  the  first,  will  in  return,  give  a 
great  deal  more  strength  to  the  fabric  by  holding  the  filling  yet  more  firmly  in  the  warp,  and 


155 


making  the  cutting  easier  and  safer.  The  process  of  twisting  the  chenille  strips  after  cutting,  as 
observed  in  the  former  fabric,  will  be  the  same  in  this  case.  (Chenille  produced  with  2  warp- 
threads  is  explained  later  in  a  special  chapter  on  Gauze  Weaving.) 

Arrangement  of  Design  for  Weaving  Figured  Chenille. 

After  the  design  is  finished  on  the  squared  paper,  it  is  cut  into  strips  in  the  direction  of  the 
filling,  as  every  line  has  to  be  woven  separately  for  the  chenille  strips.  To  explain  this  process, 
Pigs.  767  and  768  are  designed. 

Fig.  767  illustrates  the  complete  design  (border  in  four  colors). 

Fig.  768  represents  one-half  repeat  of  the  design,  cut  into  strips  in  the  direction  of  the  filling. 


^□□□□□□□□□□□□□□□□□□□□□□□□□□□□a 
■  ■:■■■;■'■■■:■■■■)■.■■  m  m  a 


-■mm  a 
■  mmm  a  a 
a  a  a  mm 

-m        m::  aa  ■■  a  i 

mmm  m  m 

■■■■■  a 
a  m-  a 

m  a  mmm  bbbi 

■■    ■  ia  a    ■■■■  a 
1-  '■  ■  iaaa  a  m      ::m  m 
)'■■.]  ■  a        ■■■■  a 

■    ■  ■■■  BBB! 

■  mm 
»  Baaaa  s 

i-<  bbb    .  a 

1- 

iigcxon 


■  9 

ai 

□□□□□□□□L 

□□□□□□□a. 
i  i  j  j  )□□□[ 


Fig.  767. 


roint-iHi  mi  mi  laaai  ■  ■  :i  ;i         □    b::b  iar  ■  m:: 

^■■□□■■BBBDGBBHBBBDCDnnCBeBHBHBDnacaDBBBB 
KQCCCCBBBCGDCGCBBBCBBBBGBBBBBBBCBBBB[  BBB  ) 

l5QGQCGCBQGQDGGGQGGQBBBGCBBBEBBBQGBBBGGnGD 
14GQQCQQGDGCQGGGBBBBBBBGCGGQBQQQQGBHBBBBB  1 
13QGQOOBBBQQQQQQBBBBBBBQCGBQQCBDGGBBBBBBBG 
ISCDCCBBHaBGCCGnCBBBBBBBBBBCDCBBBBSeBBBBnn 
"□□□□BHBBBDCCGDCCBBBBBBBBBCBCBBBBBBBBBCDG 
lOGaaBBBBBBBCDGGGBBBBBBBBBBaaGBBBBEBBBBBaa 
9QQQGBnDGBGQGCQGBBEBBBBBQQGGGGCBBBKBBBBDn 
gBGQQQQDGGQGGBGQGBBBBBBBCCBBBGCBBBBBBBGQG 
TGQGGBBBBBGQQQGGCGBBCBBBGGGBGGCBBBGBBQGQQ 

caaaaaBBBaaaaaGaGaaaaaBBCCGBGGCBBGGaaacaG 

5QaccGcaacaDaaGaaccaGaGCGcaaaaGDGGaGDaaDa 


^BGBGBGBGBGBGBGBGBGBGBGBGBGBGBGBGBDBGBGBa 

^□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□uDuaDDna 
Fig.  768. 


In  examining  Fig.  767  it  is  found  that  35  picks  are  required  for  one  repeat.    The  design 
Itself  represents  a  "point  figure,"  picks  1  to  18  and  back  again.    Indicating  the  colors  by  type 
as  follows:  □  for  straw  color;  m  for  red;  b  for  maroon;  a  for  blue-green,  we  have  : 
Strip  1. — All  straw  color. 
u     2. — One  pick  straw,  one  pick  blue-green,  20  times  for  one  repeat. 
"     3. — All  blue-green. 
"     4  and  5. — All  straw  color. 


5  picks, 

straw. 

7  cont'd. —  1 

pick, 

blue-green. 

3 

<< 

blue-green. 

1 

n 

red. 

straw. 

1 

« 

blue-green. 

2 

u 

blue-green. 

3 

a 

straw. 

3 

a 

straw. 

i 

{( 

blue- green. 

1 

<( 

blue-green. 

3 

<( 

straw. 

3 

<( 

straw. 

1 

<( 

blue-green. 

2 

a 

blue-green. 

1 

<( 

red. 

8 

n 

straw. 

1 

it 

blue-green. 

1 

it 

straw. 

-4 

picks, 

straw. 

2 

(< 

blue-green. 

1 

(t 

blue-green. 

4 

it 

straw. 

3 

a 

red. 

H 

blue-green. 

Strip  8.—  1 

pick, 

blue-green. 

8 

a 

straw. 

1 1 

« 

straw. 

2 

t( 

blue-green. 

I 

it 

blue-green. 

1 

a 

straw. 

3 

(( 

straw. 

156 


8  cont'd. —  i  pick,  blue-green. 

2  "  red. 

2  "  blue-green. 

I  "  red. 

1  "  blue-green. 

2  "  straw. 

3  "  blue-green. 
2  "  straw. 

I  "  blue-green. 

1  "  red. 

2  te  blue-green. 

2  "  red. 

i  "  blue-green. 

3  "  straw. 


•4  picks, 

straw. 

1 

a 

blue-green. 

3 

a 

straw. 

1 

<< 

blue-green. 

6 

a 

straw. 

1 

blue-green. 

1 

a 

red. 

1 

a 

maroon. 

4 

a 

red. 

1 

tt 

blue-green. 

7 

u 

straw. 

1 

ti 

blue-green. 

4 

(( 

red. 

ti 

maroon. 

1 

t( 

red. 

1 

ti 

blue-green. 

2 

(( 

straw. 

Strip  10. — 3  picks,  straw. 


I 

« 

blue-green. 

I 

tt 

red. 

I 

it 

blue-green. 

I 

it 

red. 

I 

it 

blue-green. 

I 

(( 

red. 

I 

<( 

blue-green. 

5 

a 

straw. 

1 

a 

blue-green. 

2 

a 

red. 

1 

it 

maroon. 

1 

tt 

red. 

1 

u 

maroon. 

1 

tt 

red. 

3 

<< 

blue-green. 

10  cont'd. — 3  picks,  straw. 

3  "  blue-green. 

1  "  red. 

I  "  maroon. 

I  "  red. 

1  "  maroon. 

2  "  red. 

1  "  blue-green. 

2  "  straw. 

Strip  1 1 . — 4  picks,  straw. 


Strip  12.- 


I 

<< 

blue-green. 

T 
I 

u 

red. 

I 

u 

blue-green. 

I 

tt 

red. 

I 

a 

blue-green. 

7 

straw. 

1 

a 

blue-green. 

2 

11 

1  CU. 

1 

a 

DlUc-glccll. 

4 

a 

red. 

1 

ti 

blue-green. 

1 

it 

straw. 

1 

a 

UluC-glCCIl. 

1 

tt 

straw. 

1 

<( 

blue-green. 

4 

a 

red. 

1 

ti 

blue-green. 

2 

a 

red. 

I 

tt 

blue-green. 

3 

a 

straw. 

-4  picks, 

straw. 

1 

<< 

blue-green. 

1 

tt 

maroon. 

1 

a 

red. 

1 

a 

maroon. 

1 

ti 

blue-green. 

6 

u 

straw. 

2 

<( 

blue-green. 

1 

a 

red. 

1 

<< 

maroon. 

2 

ti 

red. 

4 

<< 

blue-green. 

3 

tt 

straw. 

4 

<< 

blue  green. 

2 

a 

red. 

1 

a 

maroon. 

1 

a 

red. 

157 


—2  picks,  blue-green. 

16  cont'd. —  1 

pick, 

blue-green. 

2  " 

straw. 

6 

c<  . 

straw. 

3 

(( 

blue-green. 

—5  picks,  straw. 

1 

<< 

straw. 

3 

uiuc-grccn. 

4 

(( 

blue-green. 

6  u 

straw 

1 

straw. 

T  " 

DIUC-gl  Cell. 

2 

(( 

blue-green. 

c  '* 
5 

J  CU, 

1 

ff 

red. 

1  " 

LH  IIC-P  1  Ctll. 

1 

(( 

blue-green. 

3 

straw. 

1 

red. 

1 

blue-green. 

2 

«< 

blue-green. 

3  " 

straw. 

1 

f{ 

straw. 

1  " 

blue-green. 

4 

tt 

blue-green. 

3  " 

straw. 

1 

straw. 

1  " 

blue-green. 

3 

blue-green. 

5  " 

red. 

1 

straw. 

1  " 

blue-green. 

1  " 

straw. 

Strip  17. — 2 

picks, 

blue-green. 

Strip  14.- 


Strip  15, 


-14  picks 

straw. 

2  " 

T  " 

5 

tt 

blue-green. 

T  " 

1 

red. 

T  " 

1 

a 

blue-green. 

T  " 

5 

a 

straw. 

T  U 

1 

(< 

blue-green. 

O  " 

5 

a 

straw. 

1 

<( 

blue-green. 

T  i( 

1 

ft 

red. 

T  " 

5 

it 

blue-green. 

f\  u 

1 

tt 

straw. 

T  u 

— 6  picks,  straw. 

T  u 

blue-green. 

T  u 

1 1 

u 

straw. 

T  " 

I 

a 

blue-green. 

T  U 

I 

tt 

red. 

T  u 

1 

a 

blue- green. 

T  u 

2 

tt 

straw. 

6  <( 

3 

a 
iC 

blue-green. 

T  U 
T  ft 

1 

maroon. 

3 

blue-green. 

O  " 

2 

tt 

straw. 

1 

it 

blue-green. 

Strip  18. —  1  pick 

1 

a 

red. 

T  " 

1 

tt 

blue-green. 

T  " 

5 

U 

straw. 

T  U 

T  " 

— 5  picks, 

straw. 

1  u 

1 

tt 

blue-green. 

T  U 

I 

ft 

red. 

T  ii 

straw. 

blue-green. 

red. 

maroon, 
red. 

blue-green, 
straw, 
blue-green, 
red. 

blue-green, 
straw, 
blue-green, 
red. 

blue-green, 
red. 

blue-green, 
red. 

blue-green, 
straw, 
blue-green, 
red. 

blue-green. 


blue-green, 
straw, 
blue-green, 
red. 

maroon, 
red. 

blue-green. 


158 


1 3  cont'd. —  I  pick,  straw. 


I 

tt 

blue-green. 

3 

a 

red. 

i 

tt 

maroon. 

i 

(( 

blue-green. 

2 

tt 

straw. 

I 

it 

blue-green. 

2 

a 

straw. 

I 

tt 

blue-green. 

I 

(( 

maroon. 

I 

(( 

blue-green. 

I 

tt 

red. 

1 8  cont'd. — i  pick,  maroon. 


I  " 

red 

I  " 

blue-green. 

I  " 

maroon. 

I  " 

blue-green. 

2  ' 

straw. 

I  " 

blue-green. 

2  ' 

straw. 

I  " 

blue-green. 

I  " 

maroon. 

2  " 

red. 

Pick  19  will  equal  pick 
which  equals  pick  1. 


rf§1|tf§1 


Fig.  769. — Design  for  Chenille  Curtain. 
(Border.) 


7.    Pick  20  will  equal  pick  16,  and  so  on  until  pick  35  is  reached, 


Suppose  we  have  20  picks  to  1  inch  in  the  chenille,  the 
repeat  of  the  figure  (40  picks)  will  be  2  inches,  or  22  repeats 
in  a  curtain  44  inches  wide. 

According  to  the  width  of  the  loom  on  which  we  have 
to  produce  the  chenille  filling  and  the  size  of  the  chenille  to 
be  made  we  find  the  number  of  duplicate  strips  produced  the 
same  time. 

Suppose  we  have  a  loom  weaving  one  yard  wide  in  reed, 
and  want  a  chenille  of  inch  diameter  (on  loom).  We 
ascertain  the  number  of  strips  of  each  kind  of  color-arrange- 
ment produced  at  once,  as  follows  : 

36X4=144  strips  chenille  of  the  same  color-arrange- 
ment, produced  at  the  same  time.  This  equals  72  duplicate 
strips  for  72  pairs  of  curtains. 

If  this  border  should  have  to  be  used  twice  in  each  cur- 
tain (4  strips  in  the  complete  pair)  we  must  calculate  for  36 
pairs  of  curtains,  etc. 

Another  arrangement  for  weaving  chenille  (lower 
grade)  is  illustrated  and  explained  in  the  chapter  on  cross 


Two  methods  of  separating  or  cutting  the  web  into 
the  required  strips,  are  in  use.  That  which  separates  it 
automatically  in  the  loom  during  the  process  of  weaving,  and  that,  the  most  generally  used, 
which  separates  the  web  after  it  leaves  the  loom  by  means  of  the 


Chenille  Cutting  Machine. 

Fig.  770  is  a  top  or  plan  view  of  it.  Fig.  771  is  a  vertical  section  in  line  xx,  Fig.  770. 
(Similar  letters  of  reference  indicate  corresponding  parts  in  both  figures.) 

A  represents  the  frame  of  the  machine,  on  which  are  mounted  rollers  BCD,  which  feed  the 
chenille  fabric  into  the  machine,  the  rollers  B  D  receiving  motion  in  the  same  direction. 

G  represents  a  transversely-extending  comb,  which  is  secured  to  the  frame  of  the  machine  at 
the  end  thereof  opposite  to  the  roller  B,  and  H  represents  a  rotary  cutter,  whose  shaft,  mounted 


159 


on  the  frame  A,  receives  motion  from  the  pulley  a.  The  cutter  H  is  formed  of  a  series  of  circular 
blades  fitted  between  teeth  of  the  comb  G,  and  washers  alternating  with  the  blades,  the  washers 
serving  to  adjust  the  distance  between  the  blades,  and  in  connection  with  a  nut  and  collar  to  clamp 
the  blades  in  position.  The  comb  is  vertically  adjustable  and  has  above  it  a  pressure  bar,  67", 
properly  secured  to  the  frame  A,  or  a  projection  thereof,  the  object  being  to  force  the  fabric 
against  the  comb  and  hold  it  firmly  and  flat  during  the  cutting  operation.    (Pressure-bar  G"  is 


Fig.  770. 


removed  in  Fig.  770.)  Mounted  on  the  frame,  or  the  attachments  thereof,  on  opposite  sides  of 
the  cutter,  are  tension-regulating  rollers  J  K.  Secured  to  the  frame,  and  at  the  rear  end,  are  trans- 
versely extending  beams  d  e,  around  which  the  fabric  to  be  cut  is  passed  from  the  roller  D  to  the 
rollers  J. 

L  represents  a  roller  at  the  top  of  the  frame  A,  and  M  represents  a  roller  on  which  the  cut 
chenille  is  wound.    Roller  M  rests  on  the  rollers  B  D,  and  has  its  frictional  contact  with  the 


Fig.  771. 


roller  adjusted  by  means  of  weighted  levers  Pf  which  are  pivoted  to  the  frame  A,  and  carry 
rollers  Q,  which  are  in  contact  with  the  peripheries  of  the  heads  of  roller  M. 

Supported  on  the  base  of  the  machine,  or  on  the  floor  of  the  apartment,  is  a  fan  or  blower,  R, 
the  pipe  S  whereof  leads  upwardly  and  transversely,  and  opens  just  in  advance  of  the  cutter  H,  so 
as  to  direct  a  current  of  air  over  the  fabric  and  remove  fine  particles  of  the  same  and  dust  there- 
from.   The  chenille  fabric  to  be  cut  into  strips  is  passed  under  the  roller  B  over  the  roller  C, 


160 


under  the  roller  D,  under  the  beam  d,  under  and  around  the  beam  e,  under  and  over  the  several 
rollers  Jy  and  then  between  the  comb  G  and  bearing-plate  G",  where  the  cutter  H  acts  cr_  the 
fabric,  thus  severing  it  into  chenille  strips,  the  chenille  strips  then  passing  over  and  under  the 
rollers  A' and  over  the  roller  L  to  the  roller  My  on  which  they  are  wound.  The  roller  M  is  then 
removed,  and  the  several  lengths  of  chenille  thereon  are  re-wound  or  re-rolled  on  other  rollers  or 
spools,  and  subjected  to  further  operations.  An  excellent  chenille  cutting  machine  is  built  by 
Messrs.  W.  W.  Altemus  &  Son,  Philadelphia. 

CHENILLE  AS  PRODUCED  IN  THE  MANUFACTURE  OF  FRINGES. 

In  fringes  and  similar  upholstery  fabrics  the  chenille  is  produced  through  the  warp,  the 
filling  taking  the  place  of  the  inside  binders.    For  a  practical  explanation  of  this  point  we  refer 


Fig.  772. 


to  Fig.  772.  In  this  illustration  we  represent  under  A  the  heading,  under  B  the  worsted,  wool 
cotton  or  silk  warp  for  producing  the  chenille.  C,  Cr,  Cn ',  C"r ,  etc.,  represent  the  fine  cotton 
binders  interweaving  in  the  heading  and  chenille  part  of  the  fabric  (forming  the  centre  of  the 
chenille  after  cutting).  The  arrows  at  the  right  hand  indicate  the  places  where  the  chenille  has 
to  be  cut  towards  the  heading  as  indicated  by  the  dotted  line  between  C  and  C1 . 


IS   K  ■ 

p-j     '  i  ~tHM  81D1IOH 

:;  ::  ■ 

bcin  ■  - 

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mam 

SOB 
□HD1 

m  ?m 
□■□i 
w: 

□  H  -<y 

worn. 
□■□i 
■□■c 
□■□1 
wok. 
□■□1 
■□§[■..__ 

□BDBDB 

ebb 


□■■_■■□■ 

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B 

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B 

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m  i  u 

B 

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□*■□■■□!! 
BdBBBBBC 
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a  m 
m  i  ■ 

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IB 

B 
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11    i  n:  t  n  1:,;    ,i  i  ;!  1  !  ii  i  ;!  .1  )'  r  1  i'  'i  ii  ii  n 

•B'  B!  B!  B    B   B    B   B    B    B   B   B   B:  BUBi  Bl  1 
•■    ■  >  ■    B    a:  B    B   B    B   B    B   B   B   B   B   B   Bl  :B!  !B 

^^^■□□□□□□□□□□□□□□□□□□□□□□□□□□[-.□□□□n 
«□■□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ 

B  B  B  B  B  B  B  B  B  B  B  E  E  B  B  B 
]    B    B    B   E    B   B    B   B   B   B   E   B   B    E   B  E 

□■□■□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ 
•     '-ii  f.;  '■'(  '  nrEldSasnHClKDElDKDKUiEin 
:■:  :■■  :■:  :■.  :•] 

mrmn^y- '  '■  ■  '  k  k  '■'  ■  '■  Ki1  m  wrmtmn 
■nBnai iranftnpyiPOanEanKi  I  ,  isnisniEi 

«□«□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ 

!'  !  IBDE   B   B  B   B   B   B   B  'EDEDEDBDBnEaBa 
B   B   E   B    B    B    E    B  B 


he 


c  ac  ac  a  c  ac    b  cb 


!□■□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□  ^  j 
^■□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ri  C  -<-«8 
B    B    E    B   B    E    B    B   B    E    E    B   B        B:  ;B!  ) 
B    B    B    E    B   B    B   E   E    E    B  IE    B   E    B  Q<? 

■□■□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a 


Fig.  773. 


Fig.  773  represents  the  weave  for  a  chenille  fringe.  A  is  the  heading  of  the  fabric  and  B  the 
chenille  part.  The  width  of  heading  in  fabric  to  be  ^  inch ;  the  width  of  chenille  fringe  to  be 
from  I  to  3  inches.    Three  ends  of  2-ply  loose  twisted  zephyrs  to  be  used  for  one  end  in  the 


161 


chenille  fringe.  Two  ends  of  2-ply  50s  cotton  used  in  ground  of  heading  for  one  end.  Two 
ends  of  2-ply  zephyr  used  for  one  end  in  figure  of  heading. 


Specimen  Dressing  of  Heading  for  Present  Example 
10  ends  of  2-ply  50s  It.  blue  cotton  for 


I 

<< 

Gold  tinsel 

2 

a 

2-ply  50s  It.  blue  cotton 

I 

a 

Gold  tinsel 

6 

(t 

2-ply  50s  It.  blue  cotton 

2 

u 

2-ply  It.  blue  zephyrs 

4 

2-ply  50s  It.  blue  cotton 

2 

2-ply  It.  blue  zephyrs 

6 

«« 

2-ply  It.  blue  cotton 

1 

u 

Gold  tinsel 

2 

2-ply  It.  blue  cotton 

1 

Gold  tinsel 

0 

u 

2-ply  It.  blue  cotton 

5  ends  (heddles). 
end. 


3  times  over  =  9 


60  ends. 


Dressing  for  Fringe.    (Chenille  part^ 


for  32  heddles. 


9  ends  Zephyrs.    Blue  shade  No.  1  for  3  heddles. 


9 
12 
12 
9 
9 
12 
12 
12 


Yellow 


96  ends  Zephyrs 


for  32  heddles. 


The  h  type  in  the  chenille  part  of  the  weave  indicates  the  weave  for  the  cotton  cord  required 
to  be  interwoven  for  the  filling.  Hence  every  filling  line  in  the  design  containing  this  type  will 
require  2  separate  picks :  1  pick  for  the  heading ;  a,  ■,  and  ■  up,  □  and  a  down ;  I  pick  for  the 
chenille ;  a  up,  a,      ■  and  □  down. 

The  process  of  weaving  is  clearly  indicated  in  the  drawing  Fig.  774. 

In  weave,  Fig.  773,  and  fabric  sketch,  Fig.  774,  the  letters  used  for  indicating  the  different 
systems  of  threads  correspond. 

c  stands  for  2  ends  of  2-ply  50s  light  blue  cotton  (heading). 
b  stands  for  1  end  of  gold  tinsel  (heading). 

a  stands  for  2  ends  of  2-ply  light  blue  zephyrs  (heading)  as  used  in  the  different  arrangement 
of  colors  mentioned  before.  The  arrows  in  both  (weave  and  sketch)  are  also  on  corresponding 
places. 

Fig.  775  represents  the  finished  fabric  sample.  For  the  filling  for  heading,  4  ends  of  2-ply 
light  blue  worsted  are  used.  For  filling  for  the  centre  of  chenille  strip  and  interweaving  in  the 
heading,  use  2-ply  60s  black  cotton. 


162 


Weaves  Fig.  776  and  777  are  two  additional  specimen  designs  for  chenille  fringe. 
After  the  chenille  fringe  is  woven  and  the  heavy  cord  extracted,  the  fringe  is  submitted  to  a 
steaming,  which  process  will  put  the  twist  into  it  as  required,  for  a  double  purpose.    A  for 
general  appearance.    B  for  strength,  so  as  to  resist  a  pulling  out  of  threads  in  the  chenille 

part. 

Lately  this  method  of  producing 
chenille  fringe  (in  certain  fancy  effects) 
has  been  patented  for  weaving  a 
double  set  of  fabrics  at  the  same  time, 
thus  separately  weaving  two  fillings 
with  two  sets  of  heading  warps,  at 
intervals,  alternately  interweaving  the 
above  mentioned  fillings  with  a  set 
of  body-warps,  and  interlacing  a  tem- 
porary filling  with  these  body-warps 
in  alternation  with  said  heading-fill- 
ings, and  then  cutting  the  body  of 
the  fabric  so  produced  between  the 
insertions  of  heading-fillings  and  re- 
moving the  temporary  filling. 

In  diagram  Fig.  778  is  illustrated 
such  a  fabric,  having  the  temporary 
filling  both  interlaced  and  liberated. 
The  body  of  the  fabric  is  cut  and  two 
distinct  fringes  are  produced,  each 
fringe  having  a  series  of  spaces,  and 
each  space  of  one  fringe  being  slightly 
wider  than  the  width  of  two  pendants; 
the  spaces  and  pendants  alternating  in 
the  fringe. 

A  represents  two  fringes  consist- 
ing of  the  heads  a  a  and  pendants  b  b. 
The  spaces  c  c  between  each  two  pairs 
being  slightly  wider  than  the  width  of 
a  pair.  The  fabric  of  which  the  fringes 
are  formed  consists  of  a  body,  B,  and 
two  heads,  a  a. 

In  weaving  the  fringe  fabric  a 
cord  d  is  thrown  into  the  body  at  inter- 
vals as  temporary  weft,  after  the  pre- 
viously explained  method  of  forming 
"single  set"  chenille-fringe  fabrics. 
Two  shuttles  are  employed  for  the  heads 
a  a,  one  for  each  head.  The  threads  e 
from  the  two  shuttles  for  the  heads  are 
separately  woven  with  the  warps  a'  a',  employed  for  these  heads,  thus  producing  two  heads, 
and  threads  e  are  alternately  and  at  intervals  shot  past  the  heads  into  and  across  the  body, 
and  woven  with  the  warps  df  thereof,  so  as  to  bind  the  portions  of  the  body,  which  afterward 
constitute  the  axes  or  cores  of  the  pendants  of  the  fringe,  it  being  noticed  that  the  two 


163 


woven  heads  are  alternately  connected  with  the  body  by  such  thread3  e  as  are  shot  into  the  body 
at  intervals.  The  cord  d  is  woven  only  with  the  warps  d  of  the  body,  and  is  introduced  therein 
alternately  with  the  filling  ey  as  shown.  When  the  fabric  is  finished,  the  body  is  cut  through 
between  the  cords  d,  midway  between  the  fillings  e,  as  usual  in  making  chenille  fringe,  thus 


Fig.  775. 


severing  the  pendants,  and  the  temporary  filling  is  removed.  It  will  be  seen  that  by  so 
doing  said  pendants  are  separated  into  two  series,  one  series  being  connected  with  one  head 
and  the  other  series  with  the  other  head,  and  the  pendants  of  one  series  having  left  among 
them  spaces  corresponding  with  the  pendants  of  the  other  series.    These  spaces  may  be  equal 


A  B 


\    ■      n  R  a      a  a  a  n  |3i-b  i"B'  ini 
l         ::::::          a  a  q  a  a  a  a  a  .m 
i          h  k                 ■  a  a  a  ■  a 

K 
B 
B 

B 
B 
B 

B  --1  .1 

rnEMMM'r  TT' 

:■:  :s     :x  ::■ 

c.cccc  iiaaatiE 
'  :•:  :•:     '3  :•: 

□□□□□□□□□□r; 

M 

m  i 

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ti  Mi              .  ,    M  .  .  ,M         M  i 

:B 

B 

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B  Ml 

a  1 

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mm  ;t 

MM 

cm'  is= 

:  ;hl1 

DC 

DC 

n. 1 

M[3 

0 

B' 
B 
B 

:B 

K 
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a  a 

i 

KJK 
[  M  J 
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33    K  K 

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■ 

■ 
■ 

■  B 

a  a 

a  a 

a 

a 

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a 
a 
a 

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a  a  i  ;i 

a  a  a  a  a  a 

i 

a  a 

1 

M  ~.M 

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M  !M! 

a  h  b 

:  a 

B 
1  ■ 

■ 
■ 

■ 

■ 
■ 
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a  a 
a  a 
a  a 

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a  i 

a 

a 

a  a  .a 

9  a  a  i 
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■ 

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a 

B  B 
B  B 

a 

a 

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B 
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i 

a 

a 

BM 

a  a  a  ,a  a  a 

a  a 

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a 
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a 

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B  M  1 

n  -ra  n  a  n  n  n 

MM:  : 

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W-  K    B  B 

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i  ■ 

■ 

■ 

■ 

a 

B  B 

B  :■ 

a 

a 

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a 

a  a  :m 

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1                                  M  ■ 

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■   ■   ■   ■   ■  ■ 

B   B  MmMMjMM  ;  imbm^ 
■BBLjBMDHLUU  U„i  U 

?m         ]>: . 

:■;  i>;  :•:  :■:      :•:  :•:  j 

Fig.  776. 


to  one,  two,  or  more  pendants,  according  as  the  set  of  threads  e  are  thrown  across  the  body 
from  the  two  heads. 

Another  method  of  weaving  a  double  set  of  chenille  fringes  at  once,  and  with  their  pendants 
attached,  is  illustrated  in  Figs.  779  and  780.  This  method  of  operation  (patented  by  S.  Steinecke) 
consists  in  interweaving  two  separate  sets  of  heading-warps  and  one  series  ot  ordinary  body- 


164 


warps  with  a  single  filling  or  series  of  picks,  and  also  a  series  of  temporary  picks  of  another 
heavier  size  filling,  which  is  removed  in  like  manner  to  that  of  the  temporary  filling  inserted  in 
fabrics  previously  illustrated. 

Fig.  779  represents  a  plan  of  the  construction  of  the  fabric,  showing  the  pendants  in  pairs 
on  the  opposite  headings,  some  of  the  fabric  being  cut  so  as  to  form  the  pendants  (as  they  appear 
when  finished)  in  pairs  on  the  lower  part  of  the  diagram. 


■  ■  ■  ■ 


MM 

p  i 
□i  i  ii 

M  .i  1 

n<  \  m 
ri.  :h 


A 

B  Ii 

il  :  i" 

a 

B 

b 

B 
B 
B 

:: 

:B 

B 

:B 

s 

B' 

:B 

B 

B 

:B 
B 
B 
B 

B 
B 

:  B 

s 

H 

B 

:B 

B 

a 

B 

B 


□ 


•a  a  a  a  a  a  a  a  a  a  a  a  : 
a  a  a  a  a  a  :a  a  a  a  a  a 

■□■□■□□□□□□□□□□a  _)□□□□□□□;  :□□□□[ 
□■□■□□□□□□□□□□□□□□□□□□□□□□□□□l 
a  a  a  a  a  a  a  a  a  a  a  a  : 
a  a  a  a  a  a  a  a  a  a  -  a  a 
■□■□■□□□□□□□□□□□□□□□□□□□□□□□□ii 


■EES'  e  e  ,kgkl-si~;;sU^~m 
;      [■;■  t-;>  i:-;  ir-::i 

.[^'jEnK:  wje'  e:  e  jh  je 
]□□□□□□□□□□□□□□□□□□□ 
:  a  a  a  a  a  a  a  a  a  i 
a  a  a  a  a  ia  a  a  a  a 


v  a  a  a  a  a  a  a  a  ; 
a  a  a  a  a  a  a  a  a 

:  [  ,  ei  iE  : .  e  e  iE  :■:  i 


)EJErJ 

;  :•:  :•; 

a  a  i 
:  a  a 

;  l 
]□□_]  i 
a  a  i 
:  a  a 


Fig.  777. 


Diagram  Fig.  780  shows  the  method  of  interlacing  binder  filling  which  forms  the  cores  of 
the  pendants. 

A  A  represent  two  sets  of  heading-warps  at  the  sides  of  the  usual  body-warps,  B  for  form- 
ing the  pile-threads  of  the  chenille.  The  warps  A  and  B  are  interwoven  with  the  filling  C,  which 
may  consist  of  a  single  thread  or  series  of  threads,  all  in  the  same  shuttle. 


Fig.  778.  Fig.  779. 


The  filling  is  interlaced  in  the  following  manner:  The  filling  is  interwoven  with  the  left-hand 
heading-warps  A,  then,  with  the  body-warps  B,  up  to  the  inner  edge  of  the  right-hand  heading- 
warp  A  but  not  with  the  said  right-hand  heading-warp  A;  then  the  intermediate  or  filling  weft, 
D,  which  is  to  be  removed  later  on,  is  interwoven  with  the  body-warps  B,  but  not  with  the  headings. 
After  three,  four,  or  more  courses  of  the  intermediate  weft,  D,  have  been  formed,  the  weft-thread  C 


165 


is  again  interwoven  with  the  body-warps  B  and  one  of  the  heading-warps  ;  but  in  this  case  the  weft 
C  is  interwoven  with  the  right-hand  heading-warp  A}  and  with  the  body-warps  up  to  the  inner  edge 
of  the  left-hand  heading-warp  ^,but  not  with  said  left-hand  heading-warp  ^,and  so  on  alternately, 
so  that,  as  shown  in  Fig.  779,  the  weft-thread  C  is  interwoven  at  regular  intervals  with  the  body- 
warps,  and  is  alternately  interwoven  with  the  left  and  right-hand  heading-warps  A.  The  warps  B 
are  then  cut  parallel  with  the  wefts  C,  midway  between  them,  and  the  temporary  wefts  D  are  re- 
moved, and  thereby  two  chenille  fringes  are  formed,  one  on  each  heading  Af  the  pendants  being 
connected  alternately  with  the  opposite  headings,  as  shown. 

As  shown  in  Fig.  779,  the  filling  can  be  interwoven  in  such  a  manner  that  in  pairs  they  are 
alternately  connected  with  the  opposite  headings,  or  the  first,  second  and  third  picks  may  be 
interwoven  with  the  right-hand  heading,  and  the  next,  first,  second  and  third  picks  to  the  opposite 
heading,  and  so  on.  In  all  cases  the  permanent  filling  will  ordinarily  be  interwoven  with  the 
heading-warps,  as  shown  in  Fig.  780,  in  which  case  the  filling  must  be  severed  at  the  points  a  at 
both  headings.  The  filling  interwoven  with  the  headings,  and  extending  across  the  warps,  form 
the  cores  of  the  chenille  pendants. 


Fig.  780.  Fig.  781. 


In  Fig.  781,  the  previously  explained  method  of  weaving  a  double  set  of  chenille  fringes 
with  their  pendants  attached,  is  shown  as  applied  to  the  production  of  pendants  which  are  shaped 
so  as  to  have  a  varying-diameter. 

A  A  are  the  heading-wrarps ;  B,  the  body-warps  between  the  two  sets  of  heading-warps. 

C  C  filling  interwoven  with  the  heading  and  body  warps  and  forming  cores  or  centres  of  the 
pendants  E.  The  core  C  of  each  pendant  of  the  weft  is  interwoven  with  one  heading  warp  only, 
and,  as  shown  in  the  drawing,  the  cores  of  the  chenille  pendants  are  interwoven  alternately  with 
the  opposite  headings. 

If  desired,  one,  two,  or  three  cores  may  be  interwoven  with  one  heading,  and  the  next  one, 
two,  or  three  cores  with  the  opposite  heading,  and  the  cores  may  be  grouped  on  the  opposite 
headings  in  any  suitable  manner. 

Temporary  filling  M  is  interwoven  with  the  body-warps  between  the  picks  C  to  form  the 
chenille  fabric.  Then  the  body-warps  are  cut  with  suitable  dies,  knives  or  scissors,  between  the 
permanent  picks  to  produce  shaped  pendants — that  is,  pendants  in  which  the  diameters  of  the 
pile-threads  vary  at  different  points  through  their  entire  length. 


166 


PILE  FABRICS  IN  WHICH  THE  PILE  IS  PRODUCED  BY  A  SEPARATE 
WARP  IN  ADDITION  TO  THE  GROUND  WARP. 

As  indicated,  two  kinds  of  warps  are  necessary  to  the  production  of  these  fabrics.  One 
warp,  the  "ground-warp,"  with  the  filling,  produces  the  ground  or  body  of  the  fabric,  while  a 
second  warp,  known  as  the  "  pile-warp,"  produces  the  face. 

In  any  pile  fabric,  from  the  common  velvet  to  the  most  complicated  Astrakan  cloth,  Brussels, 
Wilton  or  tapestry  carpet,  the  method  of  entwining  the  ground  structure  is  of  a  very  simple 
character  (either  common  plain,  basket,  or  a  twill  of  short  repeat),  while  the  interlacing  of  the 
pile-warp  into  the  ground  cloth  is  of  a  more  complicated  nature.  In  all  warp-pile  fabrics 
two  methods  of  producing  the  pile  are  essential.  Either  the  pile  is  left  uncut,  which  is  techni- 
cally known  as  the  "Terry"  pile,  or  the  pile  is  cut,  known  technically  as  the  "velvet"  pile.  In 
addition  to  these  two  ground  principles  for  producing  the  warp-pile,  an  endless  variety  of  effects 
and  combinations  are  produced  by  using  various  color  combinations  for  each  kind,  again  varying 
the  height  of  the  pile,  combining  cut  and  uncut  (velvet  and  Terry  effect)  pile  for  forming  addi- 
tional designs  in  one  fabric,  etc.,  etc. 

Ground-warp  and  pile-warp  are  independent  in  their  operation  on  the  loom,  therefore  each, 
must  be  wound  on  a  separate  beam,  as  a  different  tension  and  "let-off"  is  required  for  each. 

In  fabrics  of  a  fancy  character  one  beam  for  the  pile-warp  will  not  be  sufficient,  and  the 
number  must  be  increased  for  some  fabrics  to  a  great  extent,  in  fact  in  such  fabrics  as  Brussels  or 
Wilton  carpets  it  must  be  increased  to  one  miniature  beam  for  each  individual  pile  warp-thread. 


Structure  of  Warp  Pile  Fabrics. 

Warp-pile  fabrics  are  constructed  by  raising  the  pile-warps  from  the  ground  cloth  over  a 
wire  and  then  interlacing  the  same  into  the  cloth  again.  The  entire  pile-warp  may  be  raised  over 
the  wire  on  a  pick,  or  part  of  it  only.  In  every  case  we  must  be  careful  to  arrange  the  binding 
so  as  to  secure  the  pile  proper  to  the  ground  cloth.  In  case  we  want  to  raise  only  a  part  of  the 
pile-warp  at  one  pick  we  must,  in  addition  to  the  binding,  arrange  the  distribution  according  to 
the  effect  required. 

Terry  and  Velvet  Pile. 

In  all  warp-pile  fabrics  the  same  kind  of  warp  yarn  may  be  employed  to  produce  the  pile 
for  either  the  Terry  or  the  velvet  effect;  but  it  will  be  necessary  to  use  different  wires  if  the  fabric 
is  to  be  woven  on  a  power  loom.    The  Terry  pile  is 

produced  by  using  a  plain  wire,  as  illustrated  in        /~   -^-.-^   ^r---j=n  FlG-  ?83- 

Fig.  782,  which,  when  drawn  out,  leaves  the  loop 

intact.  r— — — — ^  z  ^_^^=z>  FlG-  782. 

If  "velvet  pile"  is  desired  we  must  use  wires  of  a 
style  similar  to  that  illustrated  in  Fig.  783,  being  a  wire  which  has  a  knife  attached  to  its  extreme 
end.    This  cuts  its  way  through  the  pile  as  the  wire  is  pulled  out. 

In  weaving  pile  fabrics  on  a  hand  loom,  frequently  one  kind  of  wire  is  used  for  producing 
both  Terry  and  velvet  effects  of  an  equal  size.  This  wire  is  provided  with  a  groove  for  inserting 
the  knife  of  the  "trevette"  when  a  velvet  face  is  required.  Fig.  784  illustrates  the  section  cut  of 
such  a  wire  (see  S).  The  knife  of  the  trevette  is  shown  at  A.  B  represents  a  warp-thread  as  cut 
and  secured  to  the  body  or  ground  of  the  cloth  by  means  of  picks  I  and  2,  which  in  the  present 
example  represent  the  two  connecting  picks  to  the  pick  for  inserting  the  wire.  If  no  cutting  is 
required  (Terry)  the  wire  is  pulled  out.  Thus  it  will  be  seen  that  the  production  of  velvet  or 
Terry  effects  in  the  fabric  is  effected  by  cutting,  or  not  cutting,  certain  pile  picks,  the  change  to 
either  effect  being  entirely  at  the  will  of  the  weaver.    The  trevette  is  a  frame  having  a  knife  fixed 


167 


in  it  for  cutting  the  pile,  and  is  illustrated  in  Fig.  785  by  a  front  view  and  in  Fig.  786  by  a  side 
view.    Letters  used  for  indicating  the  different  parts  in  both  designs  are  used  correspondingly. 


Fig.  784.  Fig.  785. 

The  weaver  inserts  the  trevette  on  the  wire  to  be  liberated  at  the  left  side  of  the  fabric  and 
runs  it  quickly  over  the  entire  width  of  the  wire. 


Explanations  and  Illustrations  of  the  Method  of  Operation  in  Producing  Warp 

Pile  Fabrics. 

As  previously  mentioned,  in  warp  pile  fabrics  we  require  two  kinds  of  warp,  one  for  the 
ground  cloth  and  one  for  the  pile.  Each  kind  of  warp  is  drawn  in  on  its  own  set  of  harness, 
arranging  in  most  every  instance  the  pile  warp  nearest  to  the  reed. 


■□□■□□D' 

;.;;-<:• 
i  :•  H  , 
□KIQDKD — A' 
■      ■  <> 

■  -  C 
I   ~  XI?  . 

CKOCKD- A 

12  3  4  5  0 

Fig.  787. 


b— □□□□txjLJ  1st  set  of  harness 
d for  g'ound-warp. 


eBCOnCD 


2nd  set  of  harness 


I    f— for  pile-warp. 


Fig.  788. 


In  Fig.  787  we  illustrate  a  weave  for  a  pile  fabric.  Repeat:  3  warp-threads,  4  picks.  Ar- 
rangement of  warp:  2  threads  ground  (2,  3,  5  and  6),  1  thread  pile  (1  and  4)  =  3  threads  in  repeat. 
Filling:  I  ground  pick  heavy  (A),  2  ground  picks  finer  (B  and  C)>  I  pick  for  inserting  wire  (D)y 
■=  4  picks  in  repeat. 

Fig.  788  represents  the  drawing-in'  draft  arranged,  4-harness  in  first  set  for  ground  warp  and 
2-harness  in  the  second  set  for  pile  warp.  Harness:  a,  by  c  and  d  for  ground;  harness:  e  and  f 
for  pile. 


Fig.  789. 


Fig. 


790. 


Fig.  789  illustrates  the  method  of  operation  on  the  loom.  Every  letter  or  number  used  in 
this  diagram  corresponds  with  those  used  in  Figs.  787  and  788.  and  thus  will  readily  explain 
itself. 


168 


Fig.  790  represents  a  reproduction  in  perspective  of  the  fabric  as  produced  with  weave  Fig. 
787.    Letters  used  in  this  drawing  also  correspond  with  those  used  in  Figs.  787,  788  and  789. 

In  drawing  Fig.  789,  representing  the  method  of  operation  for  forming  pile  fabrics,  only  one 
wire  is  shown  interwoven.  The  same  will  illustrate  a  principle  most  frequently  observed,  i.  e.f  to| 
have  the  pile  warp  in  the  lower  shed,  both  in  the  pick  preceding  the  wire  as  well  as  the  one 
following.  This  method  has  a  strong  tendency  to  drive  the  wires  into  position  as  well  as  to  keep 
them  there.  In  some  fabrics  this  method  is  changed  with  respect  to  the  pick  preceding  the  wire, 
but  in  whatever  warp  pile  fabric  to  be  constructed  by  means  of  wires,  the  pick  following  the 
insertion  of  the  wire  must  have  all  pile  warp-threads,  raised  as  before  over  the  wire,  down. 

We  will  now  give  a  short  sketch  of  the  method  of  operation  on  the  hand  loom  when  weaving 
warp  pile  fabrics,  thus  illustrating  also  a  like  principle  for  weaving  the  same  fabrics  on  the  power 
loom.  After  the  weaver  has  interlaced  the  required  number  of  ground  picks  between  the  threads 
of  the  combined  warps,  a  shed  is  formed  either  by  raising  the  entire  pile  warp-threads  in  the 
upper  part  of  the  shed  and  forming  the  lower  part  of  the  shed  by  means  of  the  ground  warp,  or 
by*  raising  only  a  part  of  the  pile  warp  in  this  pick,  forming  the  lower  part  of  the  shed  by  the 
entire  ground  warp  and  also  the  remaining  part  of  the  pile  warp.  This  shed  remains  formed 
until  the  wire  has  been  passed  through,  extending  on  each  end  several  inches  wider  than  the 
selvage  threads.  Towards  this  wire  so  inserted  the  reed  is  brought  with  considerable  force, 
and  pushes  the  wire  close  towards  the  previously  interwoven  ground  picks.  The  shape  of  these 
wires  is  of  such  a  form  that,  by  arranging  the  latter  so  that  the  reed  when  pressing  towards  the 
interlaced  part  of  the  fabric  comes  in  contact  with  the  grooved  edge,  the  wire  is  caused  to  stand 
on  its  lower  edge.  In  this  upright  position  it  is  maintained  by  pressing  the  reed  towards  the  wire 
until  a  new  shed  (ground  pick)  is  formed,  in  which  the  filling  for  the  ground  cloth  is  inserted  by 
means  of  a  common  shuttle  as  is  done  in  the  ground  pick  preceding  the  insertion  of  the  "wire." 

By  this  method  of  fastening  the  pile  warp  over  its  respective  wire  to  the  ground  cloth,  the 
latter  is  also  securely  fastened  to  it,  and,  if  an  uncut  pile  effect  is  desired,  requires  some  effort  to 
liberate  it.  After  inserting  the  required  number  of  ground  picks  the  process  of  inserting  the  wires 
is  repeated,  several  wires  always  being  retained  in  the  fabric  to  keep  the  pile-threads  from  pulling 
out  of  the  texture,  which  would  destroy  the  face.  From  6  to  12  wires,  according  to  the  material 
and  the  method  of  interlacing  the  ground  cloth,  as  also  the  closeness  or  "  height "  of  texture,  are 
required  to  remain  in  the  fabric  to  prevent  any  possible  trouble,  as  pointed  out.  The  last  wire 
liberated  is  always  the  next  to  be  inserted. 

We  will  now  proceed  to  explain  and  illustrate  a  few  of  the  most  prominent  warp  pile  fabrics. 

Velvet  and  Plush  Fabrics. 

These  fabrics  are  constructed  with  two  kinds  of  warps.  The  ground-warp  consists  either 
of  silk  or  cotton,  and  interlaces  with  the  filling  on  plain  52,  rib  yg,  gg,  basket  ggBS.  01*  a  3,  4,  5, 
6  harness  twill ;  whereas  the  pile-warp  being  of  silk,  forms  the  face,  through  interlacing  with  the 
ground-cloth  after,  or  before  and  after,  raising  for  the  wire. 

The  ground-warp  is  woven  with  a  tight  tension,  while  the  pile-warp  is  arranged  to  "  take 
up"  easily.  The  name  of  the  fabric  indicates  the  "  cut "  character  for  the  pile.  As  previously 
mentioned,  two  beams  are  necessary,  the  beam  for  carrying  the  ground-warp,  and  the  beam  for 
carrying  the  pile-warp.  The  pile-beam  must  be  situated  in  a  higher  position  (in  the  rear  of  the 
loom)  than  the  beam  carrying  the  ground-warp,  so  that  the  pile-threads  will  run  in  an  oblique  di- 
rection towards  the  harness.  The  proportion  of  pile  and  ground-warp  as  well  as  the  height  of 
texture,  and  threads  per  dent,  vary  for  the  different  qualities. 

Arrangements  most  frequently  used  are : 

2  ends  ground  to  alternate  wifch  1  end  pile,  or,  2  ends  ground  to  alternate  with  2  ends  pile. 


169 


Fig.  791. 


Or,  2  ends  ground,  1  end  pile,  1  end  ground,  1  end  pile,  =  5  ends  in  repeat.  Or,  1  ground,  1 
pile,  I  ground,  2  pile,  =  5  ends  in  repeat.  Or,  I  ground,  2  pile,  2  ground,  2  pile,  =  7  ends  in 
repeat.    Or,  2  ground,  I  pile,  2  ground,  2  pile  =  7  ends  in  repeat,  etc.,  etc. 

The  ground-warp  and  pile-warp  are  each  put  on  a  separate  set  of  harness,  generally  using 
4  successive  harnesses  for  drawing  in  the  ground-warp,  and  2   harnesses  for  the  pile-warp. 

For  example  : 

Fig.  791  represents  a  common  vel- 
vet weave  in  which  2  ground  warp- 
threads  alternate  with  1  end  pile-warp. 
Filling:  3  picks,  ground  (A.  B.  C)  to 
alternate  with  1  wire  (D). 

Fig.  792  illustrates  the  drawing-in 
draft  with  two  sets  of  harness.  Harness 
a,  b,  c,  d  for  the  ground-warp  (4),  harness 
c  and  /  for  the  pile  warp  (2). 

Technically  the  velvet  fabrics  are 
; — \  T^^'^  classified  as  "  two-picks  velvet,"  "three- 
picks  velvet,"  etc.,  which  means  that  in 
the  two-picks  velvet  we  use  two  ground-picks  between  each  insertion  of  the  wire,  and  in  the 
three-picks  velvet  three  successive  ground  picks,  and  so  on. 

In  Fig.  793  we  illustrate  one  of  the  plainest  of  the  velvet  weaves  and  representing  what  is 
technically  classified  as  "  the  common  two-picks  velvet  *'  weave. 


Fig. 

! 

s 

1  l 

nnrnaa 

8asnnan 
-  '  ■ 

Fig.  793. 


Fig.  794  represents  the  sectional  cut  of  this  weave.    An  examination  of  this  weave  will 
illustrate  the  following  arrangement  for  each  pick  : 
Pick  1  raises  ground  warp-thread  I  and  the  pile. 

"    2     "     only  the  pile  (wire). 

"    3     "       "    ground  warp-thread  2. 
Repeat:  3  warp-threads  and  3  picks. 

Warp:  2  ground-threads  to  alternate  with  one  pile-thread  (this  pile  can  also  be  a  two-fold  or 
a  three-fold  thread). 

Filling:  2  ground-picks  to  alternate  with  one  pick  for  inserting  wire. 


«  :: 

r 

■  11 

Fig.  795. 


we    illustrate  a 


Fig.  796. 

velvet   weave    frequently  used, 


rhich  has  for  the 


1  ]\ 
1  ,). 
■ 


In    Fig.  7 

interlacing   of    the    ground    cloth   the    common    rib-weave    (2    harness   and   4   picks  rjJ 
In  this  weave  we  find  the  ground-picks  preceding  the  pick  for  inserting  the  wire,  as 
well  as  the  ground-pick  following  the  latter,  call  for  the  raising  of  the  same  ground  warp-threads 
(two  picks  in  a  shed  in  the  common  rib-weave). 


170 


Fig.  796  illustrates  the  section  of  a  fabric  interlaced  on  weave  Fig.  795.  An  examination  of 
each  pick  will  show  the  following  results : 

Pick  1  raises  ground  warp-thread  number  1  and  the  pile. 

"   2     "    only  the  pile  (for  inserting  the  wire). 

"   3     "    only  ground  warp-thread  number  1. 

"  4     "    ground  warp-thread  number  2  and  the  pile. 

"   5     "     only  the  pile  (for  inserting  the  wire). 

"  6     "     only  the  ground  warp-thread  number  2. 
Repeat :  3  warp-threads  and  6  picks. 

Warp :  2  ground-threads  to  alternate  with  1  pile-thread  (which  can  also  be  a  two-fold  or 
three-fold  thread). 

Filling:  2  ground-picks  to  alternate  with  one  pick  for  inserting  wire. 


7Hi  ,:  ,H  ] 

£□□■□□■ 

51  IHLK  IE  1 
4HDBBDB 
8DHDDHD 

1WDD 


Fig. 


797. 


In  Fig.  797  we  illustrate  the  common  "  3 -picks  velvet"  weave,  which  has  for  its  interlacing 
of  the  ground-cloth  the  common  plain  weave. 
Repeat :  3  warp-threads  and  8  picks. 

Warp :  2  ground-threads  to  alternate  with  1  pile-thread  (which  can  also  be  a  two-fold  or 
three-fold  thread). 

Filling:  3  ground-picks  to  alternate  with  one  pick  for  inserting  the  wire. 
An  examination  of  each  successive  pick  will  show  the  following;  results : 
Pick  1  raises  ground  warp-thread  No.  1.    (Ground-pick  I.) 

2  "     pile-warp  for  inserting  wire. 

3  "     ground  warp-thread  No.  2.    (Ground-pick  2.) 

4  "     ground  warp-thread  No.  1  and  pile-warp.    (Ground-pick  3.) 

5  "     ground  warp-thread  No.  2.    (Ground-pick  4.) 

6  "     pile-warp  for  inserting  wire. 

7  "     ground  warp-thread  No.  I.    (Ground-pick  5.) 

8  "     ground  warp-thread  No.  2  and  pile-warp.    (Ground-pick  6.) 

The  section  cut  of  this  weave,  which  is  represented  in  diagram  Fig.  798,  readily  explains  the 
advantages  of  this  weave  over  the  preceding  ones,  in  that  it  more  securely  fastens  the  pile  to  the 
ground-cloth,  every  pile  warp-thread  being  interlaced  by  - — - — -x  before  it  is  raised  for  inserting  the 
wire.  Therefore  fabrics  produced  with  this  weave  will  be  more  durable  than  fabrics  interlaced  as 
shown  in  sections  794  and  796;  of  course,  by  using  the  texture  and  size  of  yarn  alike  in  all 
three  examples,  the  fabric  as  produced  with  weave  Fig.  797  will  be  less  dense,  in  appearance  of 
the  face,  than  the  others. 


□□□□□□ 

K  H 

2L    ■      ■  D 


,3>  M)    K.,t  S  tint) 

I 


2  A 


I-'IG. 


799- 


Sfdionoit    Cut  b\  ^vit  warft_ 

Fig.  800. 


In  weave  Fig.  799  we  represent  another  "  3-pick  velvet"  weave.  Diagram  Fig.  800  repre- 
sents the  section  of  a  fabric  interlaced  with  weave  Fig.  799.  Letters  for  indicating  the  different 
threads  in  weave  and  section  are  used  correspondingly.  Two  loops  formed  by  the  insertion  of 
the  wires  are  shown  as  cut,  whereas  one  is  represented  as  uncut. 


171 


An  examination  of  the  weave  will  show  the  following  results : 
Repeat :  3  warp-threads  and  4  picks. 

Arrangement  of  Warp  ;  2  ends  ground  to  alternate  with  1  end  pile. 

Filling:  3  picks  ground  to  alternate  with  1  pick  forming  the  shed  for  inserting  the  wire. 
Picks  marked  I,  3,  4,  are  ground  picks.  Pick  2  (=  D)  is  the  pick  for  inserting  the  wire.  If 
using  a  twill  weave  for  interlacing  the  ground-cloth  in  a  velvet  fabric,  we  generally  use  not  less 
than  3  successive  ground  picks  to  alternate  with  one  pick  for  the  wire.  Less  ground  picks  would 
result  in  a  texture  not  sufficiently  strong  to  resist  the  pulling  out  of  the  pile  by  the  wear  the 
fabric  is  put  to. 

aa  a  ^nnniHGiBHaBana 

f  ■  ,  ■;;;> 

a    aa  aa  a    aa  >aa  I  DsacDsaG 

a  aa  a      a  aa  a    i  ■■■■■!.■ 

■  ■    ■    ■    ■    ■  sa     ia  )  ^W^XtmUfflmr 
aa  aa  ;      aa  aa  a      a    m                           vBmbSijiaatr      \  lHsLI  /        U  \  \&& 
-aa  a      a  aa  a      a  ■      ■                        ~     ^ll&Wfl»r       \if/  /         Ylvv/'  / 
aa        aa  aa        aa  a    .na  ds                      R              IMmZ^     J^'P//^.  3XW7- 

■  ■    ■    ■    mm  &j«aojoaa  -D 

a    aa  aa  3    aa  laa  I  I  -a"    la"  A      (^ff2jV^3J  )  /  (f//5l) (T6.}XTr7.)l  )  [  (87^9 

a  aa  a      a  aa  a  i  i  a    .  :a    ;  i  A 

■■■■■■  xi. 

iBH  aa   :. .  ti  aa  iqhcodu  ipjasaaaa 

Fig.  801.  Fig.  802.  Fig.  803. 


In  Fig.  801  we  illustrate  the  design  for  a  pile  fabric  having  the  ±  -  6-harness  twill  for  weave 

of  the  ground  structure. 

Repeat :  9  warp-threads  and  8  picks. 

Arrangement  of  warp :  2  ground  threads,  1  pile  thread  =  3  threads  repeat. 
Filling :  3  ground  picks  to  alternate  with  1  pile  pick. 

The  method  of  interlacing  the  pile  warp  to  the  ground  cloth  is,  in  the  present  example,  equal 
to  the  one  illustrated  in  Fig.  800. 

In  place  of  one  pile  thread  we  can  also  use  a  two-fold  or  three-fold  thread. 

In  the  manufacture  of  velvets  and  plushes,  in  which  no  dense  pile  is  required  on  the  face,  as 
also  in  fabrics  in  which  the  material  used  is  rough  or  too  close  set,  and  so  liable  to  " choke" 
between  the  raising  and  lowering  of  the  entire  pile  warp  or  vice  versa  the  entire  ground  warp,  we 
raise  on  every  successive  pile  pick  only  each  alternate  pile  warp-thread.  The  proportion  of  pile 
warp  and  ground  warp  in  these  fabrics  is  generally  equal;  one  ground  warp-thread  to  alternate 
with  one  thread  of  pile  warp. 

In  this  manner  design  Fig.  802  is  executed. 

Repeat:  4  warp-threads  and  6  picks  (4  ground  picks,  2  picks  for  wires). 
Filling:  2  picks  ground  to  alternate  with  1  pick  for  inserting  the  wire. 

Diagram  Fig.  803  represents  a  sectional  view  of  the  method  of  interlacing  both  pile  warp- 
threads  in  the  ground  cloth  in  weave  Fig.  802.  One  pile  warp-thread,  indicated  as  Ay  is  shown 
shaded  and  situated  behind  pile-thread  B,  which  is  shown  in  clear  outlines.  5  represents  the 
section  of  a  wire  as  used  in  hand  looms,  but  which  will  also  demonstrate  the  section  of  a  wire 
as  used  in  power  looms.  C  represents  the  section  of  the  knife  in  the  trevette.  The  first  loop  is 
shown  as  cut,  whereas  the  other  three  are  represented  as  uncut. 

FIGURED  VELVET. 

In  these  pile  fabrics  more  figuring  is  possible  than  in  any  other  kind  of  textile  fabrics.  One 
of  the  first  requisites  for  figuring  these  fabrics  is  the  use  of  different  colors  for  forming  designs. 
Then,  again,  we  can  figure  successfully  by  using  uncut  pile  with  the  regular  cut  pile,  as  also  by 
using  the  common  weaving  to  form  figures  with  the  pile  weaving.  We  can  also  produce  new 
additional  designs  by  means  of  high  and  low  pile.  All  these  latter  methods  for  forming  addi- 
tional figures  will  result  in  the  necessity  of  using  a  great  many  beams,  and  in  some  fancy  figures 


172 


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produced  by  harness  work  as  well  as  all 
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machine,  the  number  of  beams  will  in- 
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design  until  a  separate  small  beam  "pile- 
warp  spool  "  for  each  individual  pile  warp- 
thread  must  be  used.  In  using  this  arrange- 
ment of  spools  it  is  advisable  to  adjust  a 
hack  (divider)  in  rear  of  the  loom,  so  as 
to  readily  find  the  place  of  breaking  of  any 
thread  in  the  loom  during  weaving. 


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Fig.  804.  Combination  of  figured 
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two  systems  of  warp  and  one  system  of 
filling. 


a 


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Arrangement  of  dressing  : 

A,  i  end  pile,  | 

,  j  r  12  times  s=  24  ends. 

I  end  ground,  J 

B,  i  end  figure,    \  ,  8  times  =  36  ends. 
I  end  ground,  J 


Repeat  60  ends. 


173 


Lowest  number  of  harness  possible  for  drawing  in,  is  24-harness. 
Filling:  I  wire  (pile),  2  ground. 
Fig.  804^.    Motive  for  weave  804. 

a  pile  effect,    o  effect  produced  on  ordinary  weaving  with  extra  warp. 

In  both  designs  (the  motive  and  the  weave)  three  repeats  of  the  pile  part  and  two  repeats 
of  the  part  figured  by  extra  warp  (ordinary  woven)  are  illustrated. 

Fig.  805.  Repeat:  6o  warp-threads,  24  picks.  Can  be  reduced,  if  required,  to  21 
or  23-harness. 

Fig.  805 Motive  for  preceding  weave. 


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JL/UUUlJ 

■  IJ 

GI-.U 

a  a  a  a  a  .a  .a  a  a  a  a  

■  1 


■  ■  ■  m  ■  ■  ■ 


^□□^□□□^□□□^□□□^□□□^□□□^□□□■□□□■□□□■□□■■■□■■■□■■■□■BJDcBancBO, 
(1  represents  pile,  2  ground,  filling.) 
F  G.  805. 

A.  Pile  Effect.  Dressing:  1  end  pile,  1  end  ground,  12  times, 

=  24  ends. 

B.  Figure  Effect.  Produced  upon  2  systems  of  warp,  1  system 
of  filling.    Dressing  :  1  end  figure,  1  end  ground,  18  times, 

=  36  ends. 


]□□■■■■■■■□□□□□□□ 


*►:":<***►>>:-*►>:-  ■■■■■■ 


□□□□□■1 
Fig.  805^ 


i 

■  ■■■■ 


■    ■■■  ) 

■■■■■■  1 

■■■■■■  ]!  ] 
■HBI  ■■■■■■■ 

mm  ■■■■■■■ 
■■■■■■■ 

■■■■■■■  ■■■ 

■■■■■ 
■■■■■■■ 
.  ■■■■■■ 
IB    ■  ■■■■■ 
I    ■  ■■■■■ 
■■  ■■■  ■ 

IBB  BB  BB 

IBB  B  BBB 

B   BBB  1 

mini ) 

IBBBB 
IBBB 
IBB 

!■□□□□□ 


In  both  designs  (thb  motive  and  the  weave)  only  one  repeat  is  shown,  a  for  pile-warp. 
■  for  figure-warp,  b  for  ground-warp  in  pile  part  of  weave,  b  for  ground-warp  in  ordinary 
weaving  part  of  the  design. 

ASTRAKHANS. 

These  fabrics  are  also  formed  by  adding  an  extra  pile-warp  to  a  single  cloth,  otherwise 
interlaced  in  plain,  basket,  rib,  or  common  twill  weaves,  and  are  the  nearest  related  (some  weaves 
being  exactly  the  same)  to  the  velvet  weaves  given  in  the  preceding  chapter.  We  may  either  cut 
this  pile  (plush)  or  leave  the  pile  uncut  (terry) ;  or  we  may  use  both  methods  in  the  same  fabric, 
producing  in  this  way  some  of  the  most  beautiful  novelties  for  ladies'  cloaking — trimmings,  and 
similar  fashionable  articles. 

Texture  of  Astrakhan  Fabrics. 

The  texture  of  these  fabrics  requires  2  kinds  of  warp :  a.  ground-warp,  b.  pile-warp,  and 
one  kind  of  filling  (ground).     The  ground-warp  will,  by  interlacing  with  the  filling,  form  the 


174 


ground  or  body  of  the  structure,  while  the  pile-warp  through  being  interlaced  to  this  ground 
structure  and  raised  at  certain  intervals  over  wires  (as  required  by  the  design),  forms  the  face 
of  the  fabric. 

Ornamentation  of  Astrakhan  Fabrics. 

Fancy  effects  upon  otherwise  plain  interlaced  Astrakhan  fabrics  can  be  produced  by  various 
combinations.    Among  these  are  found :  The  use  of  different  colors  in  the  pile-warp ;  varying 


Fig.  806. 


j«.  6r»i*n.a,n)(n,fp. 


«  .  fret 


Fig.  807. 


Sectionat  cat  b\  ?lt<  marfi  

Fig.  808. 


the  length  of  the  pile ;  and  combining  the  terry  and  velvet  effects,  forming  either  terry  figures 
upon  velvet  ground  or  velvet  figures  upon  terry  ground. 


Specimen  Weaves  for  Astrakhans. 

Fig.  806  represents  the  weave  for  a  plain  Astrakhan  fabric.  Repeat :  3  threads  of  warp, 
4  picks ;  the  entire  pile  warp  (indicated  by  3  and  6  in  the  figure)  is  raised  at  once  over  the  wire 


Fig.  809. 


I    l    4   *  S  6 


Fig.  810. 


as  shown  in  picks  2?,  Z>r.  Texture  of  the  warp  is  2  ends  ground  or  body-warp  (cotton)  to  alter- 
nate with  one  end  pile-warp  for  the  drawing-in  on  2  sets  of  harness. 

1st  set  for  ground-warp  (containing  harness  a  b  c  d). 

2d  set  for  pile-warp  (containing  harness  e  and  /). 


175 


Diagram  Fig.  807  represents  the  drawing-in  of  the  warp  on  its  corresponding  two  sets  of 
harness  (indicated  at  the  right-hand  side). 

Diagram  Fig.  808  illustrates  the  section  of  a  fabric  interlaced  on  weave  Fig.  806.  Both 
ground  warp-threads,  as  working  at  the  right  and  left,  are  indicated  by  dotted  lines.  The  pile- 
warp  indicated  in  full  black  is  shown  in  the  terry  and  velvet  effect  (cut  and  uncut). 

Fig.  809  illustrates  another  design  for  Astrakhans.  Warp:  2  ends  ground-warp,  1  end  pile- 
warp,  2  ends  ground-warp,  I  end  pile-warp  (to  alternate  with  the  first  end  pile-warp  in  weaving). 


Fig.  811. 

Each  pile  warp-thread  is  drawn  on  a  separate  harness,  as  shown  in  Fig.  810.  Diagram  Fig.  811 
illustrates  the  method  of  operation  in  weaving  a  fabric  with  the  weave  just  given.  2  picks 
ground  By  C,  E,  F;  1  pick  for  inserting  wire  A,  D.  In  pick  A  the  harness  /  raises  warp-thread 
3  ;  in  pick  D  the  harness  e  raises  warp-thread  6.  The  interlacing  of  the  body-cloth  is  done  with 
the  common  4-harness  basket-weave  having  the  two  warp-threads  between  the  pile  warp-threads 
working  the  same ;  also  the  pick  before  and  the  pick  after  the  inserting  of  the  wire. 

Fig.  812  illustrates  a  weave  for  Astrakhans  similar  to  the  one  above.  The  same  arrangement 
for  texture,  2  ends  ground  1  pile,  2  picks  ground  I  wire,  and  4  harness  common-rib  (rilling  effect) 


□□□□■□□□□□■□-/^ 

□□□□■□HDHUHD5 

□□□□■□□□□□■□-6 

L  '  a  H  ]'„1JH«H-  ~ 
L  :■  !  OJi  ■  TJ~:  i-S 

A  B  A  B 
Fig.  812. 


i.    2.     &  6. 
Fig.  813. 


for  the  ground  structure  is  used ;  but  the  latter  weave  is  arranged  to  have  the  two  ground  warp- 
threads,  situated  in  the  fabric  near  each  other,  work  opposite;  thus  the  ground  warp-threads 
working  nearest  on  each  side  of  a  pile-thread  raise  and  lower  equally.  In  diagram  Fig.  813,  a 
section  cut  of  the  two  pile-threads,  as  they  interlace  in  a  fabric,  is  shown.  One  pile-thread 
marked  A  is  represented  in  outline  (forming  loops  5  and  F),  while  the  other  pile-thread  is 
shown  in  full  black  (forming  loops  S'  and  Ff).  The  letters  and  numbers  indicating  the  differ- 
ent warp-threads,  picks,  and  openings  of  a  shed  for  inserting  wires,  respectively  correspond  in 
weave  Fig.  812  and  diagram  of  section  Fig.  813. 


176 


Weave  Fig.  814  has  the  following  arrangement  of  texture  and  principles  of  construction: 
Warp :  4  ends  ground-warp,  1  end  pile-warp,  twice  over  in  one  repeat  of  the  weave. 
Filling:  4  picks  for  ground,  1  pick  for  inserting  the  wire,  twice  over  in  one  repeat  of  the 
weave.    Ground-weave:  plain.    Raising  of  pile-warp:  alternate  ends  on  alternate  wires. 
A  and  B  are  pile  warp-threads,  C  and  D  the  shed  for  inserting  the  wires. 


E'  r  in  !  e  e  b  bgbhd 
l  e    s  b    e  :  b.    g  hi  :  in 

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Fig.  814. 


EGGEaQEGQEQQEGQHSGEBOEBGEBQEBOQGGQG 
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1BGBBGGGGG 


Fig.  815. 


Weave  Fig.  815  has  the  following  arrangement  of  texture  and  principles  of  construction : 

2  threads  ground-warp,  1  thread  pile-warp,  10  times  over  in  repeat  of  weave. 

Filling-.  4  picks  for  ground,  1  pick  for  inserting  wire  ("cut"),  3  times  over;  4  picks  for 
ground,  I  pick  for  inserting  wire  ("  uncut "),  3  times  over;  hence  30  threads  warp  and  30  picks 
in  one  complete  repeat. 

Weave  for  body  of  fabric  :  plain. 

bee  on  right-hand  side  of  weave  for  wires  "  cut." 

ebb  on  right-hand  side  of  weave  for  wires  "  uncut." 


/     /     /  IKKKKLLLL 

/^^CBGDGBGGaEannEGnDEnnGEGcnEGnnEnncBanDEnaDanGnEGnnanBB 

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Fig.  8i6. 


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J/  33333333 

■■■■gqgqgggq—  z> 

Fig.  817. 


Fig.  816  illustrates  another  fancy  weave  for  Astrakhans,  containing  the  "terry"  and  " velvet " 
principles.  The  arrangement  for  the  warp  is :  2  ends  ground,  I  end  pile-warp  (for  terry);  i  end 
pile-warp  (for  velvet),  12  times  over.  The  warp-threads  marked  on  bottom  of  the  design  A,  B,  C, 
are  for  the  velvet,  and  the  warp-threads  marked  /,  K,  L,  (indicated  on  top  of  the  design),  are  for 
the  terry.    Picks  D,  D\  E,  E \  Hy  ET,  are  to  be  the  "  cut "  effect,  and  picks  Mt  Pt  Ny  P',  0,  P"y 


177 


the  "  uncut "  effect.  The  weave  for  the  body  of  the  fabric  is  the  common  2-harness  rib-weave 
(two  picks  in  a  shed  of  common  plain). 

In  diagram  Fig.  817,  the  motive  for  the  pile-warp  is  clearly  illustrated  (representing  the  3- 

harness  twill  1  2,  velvet  effect  upon  a  terry  ground  for  motive).    It  will  be  easily  seen  by  any 

one  that  an  endless  variety  of  weaves  and  effects  may  be  secured  by  combining  cut  with  uncut 


HtCCm,. 


j 

Fig.  818. 

pile.  And  whatever  designs  may  be  required,  the  principles  given  and  illustrated  in  the  preceding 
examples,  will  always  apply,  as  they  remain  unchanged. 

In  the  method  of  weaving  Astrakhan  fabrics,  as  thus  far  explained,  the  raising  of  the  pile 
has  been  effected  with  the  use  of  wires,  over  which  the  loops  of  the  pile  were  formed,  and  which 
were  inserted  and  withdrawn  at  intervals.    These  wires  being  constructed  in  a  single  piece,  the 


width  of  the  fabric  which  can  be  made  on  them  is  necessarily  limited,  as  a  very  long  wire  cannot 
be  withdrawn  and  inserted  with  precision  automatically  by  the  loom.  Also,  the  means  for 
operating  such  wires  are  of  a  character  to  prevent  rapid  weaving;  hence  it  requires  a  special  loom 
of  complicated  construction. 

In  fabrics  of  a  "  cut "  pile  character  and  in  fabrics  in  which  the  warp  pile  is  not  cut  but  inter- 
woven very  loosely,  this  process  of  interlacing  and  its  loom  (power  or  hand)  must  be  used ;  while 


178 


in  "  terry  "  pile  Astrakhans,  which  have  their  pile  warp  rather  solidly  interlaced  with  the  body- 
structure,  a  device  has  lately  been  invented  by  T.  Harrison,  which  he  claims  can  be  applied  to 
almost  any  power  loom,  and  is  not  limited  to  the  width  of  the  fabric  which  it  can  produce,  and 
which  can  be  arranged  so  as  to  form  the  pile  at  any  desired  interval  upon  the  surface  of  the 
body  fabric.    It  consists  of  a  movable  frame  carrying  a  series  of  short  "  wires  "  upon  which  the 


Fig.  820. 


pile  loops  can  be  formed,  each  wire  being  pivoted  at  right  angles  to  the  plane  of  its  longitudinal 
movement  and  provided  with  means  for  depressing  its  free  end  at  proper  intervals,  so  as  to  engage 
beneath  the  warps  which  are  to  form  the  pile. 

In  Fig.  818  an  exterior  side-view  of  a  loom  embodying  the  arrangement  is  given.  In  this, 
as  well  as  in  the  following  drawings,  referring  to  the  present  subject,  those  parts  are  omitted 


Fig.  821. 

which  are  well  understood  in  their  action  and  whose  insertion  in  the  drawings  would  only  tend 
to  confuse  the  mind,  and  render  a  comprehension  of  the  special  parts  to  which  the  present 
arrangement  relates,  less  clear. 

Fig.  819  is  a  view  in  detail  of  a  portion  of  the  sectional  wire  which  forms  the  basis  of  the 
arrangement,  showing  various  parts  connected  with  the  portion  of  the  sectional  wire,  as  also  a 
number  of  warp  and  filling-threads. 


179 


Fig.  820  is  a  front  elevation  of  the  loom  with  its  attachment  for  raising  the  pile-warp.  In 
this  drawing  the  working  parts  are  shown  in  one  extreme  position,  while  in  Fig.  821  (corres- 
ponding to  Fig.  820)  they  are  shown  in  the  other  extreme. 

In  diagrams  I  to  X  in  Fig.  822  are  represented  the  positions  which  the  threads  assume  at 
each  stage  of  the  formation  of  the  fabric. 

Two  pile-warps  may  be  used,  which  are  indicated  respectively  by  1  and  2.  The  body-warps 
3  and  4  of  the  fabric  are  brought  from  a  separate  beam.  To  form  a  row  of  loops  with  the  pile- 
warp  1,  the  operation  commences,  as  shown  in  Diagram  I  of  Fig.  822 — that  is  to  say,  the  points 
of  the  wires  a  are  all  depressed,  and  the  frame  is  at  the  extreme  right-hand  position  shown  in 


h  a'  ™ 


I 

Fig.  822. 


Fig.  821.  Each  wire  a  thereupon  enters  beneath  a  number  of  warp-threads  and  raises  them 
slightly  above  the  plane  of  the  fabric.  A  shuttle  is  then  shot  through,  after  which  the  body- 
warp  4  rises  and  the  pile-warp  1  descends,  as  shown  in  Diagram  II  of  Fig.  822.  The  pile- 
warp  2  rises  and  a  pick  of  the  shuttle  follows,  and  the  action  of  the  reed  throws  the  filling-thread 
toward  the  wire  a,  so  as  to  close  the  row  of  pile-loops  thereon,  as  indicated  in  Diagram  III  of 
Fig.  822.  The  weaving  then  continues,  as  indicated  from  IV  to  VII  inclusive,  in  Fig.  822,  by 
means  of  both  pile-warps  and  both  body-warps,  the  shuttle  operating  in  the  ordinary  manner. 
During  all  this  period  the  taking  up  of  the  cloth  has  drawn  over  the  bottom  of  the  pile-loop 
somewhat  to  the  left  in  the  diagrams,  and  as  soon  as  a  sufficient  number  of  picks  have  been 
made  to  securely  lock  the  pile-loops  the  frame  and  the  wires  a  are  thrown  to  the  right  of  Fig. 


180 

820,  or  toward  the  observer  from  the  point  of  view  in  the  diagrams.  This  disengages  the  wires 
from  the  loops  which  they  have  heretofore  supported,  and  leaves  them  as  shown  in  diagram  VIII 
in  Fig.  822.  So  long  as  the  wires  have  been  surrounded  by  the  loops  and  have  rested  upon  the 
body  of  the  fabric  they  have  been  maintained  in  a  horizontal  position  ;  but  upon  their  being 
withdrawn  from  the  loops  and  upon  the  rise  of  the  frame  bodily,  this  support  ceases  and  the 
ends  of  the  wires  a  dip  downward  by  the  tension  of  the  spring.  This  position  immediately 
follows  upon  their  withdrawal,  and  occurs  when  the  frame  is  at  the  extreme  right-hand  position 
(shown  in  Fig.  821),  or,  in  other  words,  is  ready  to  engage  with  a  fresh  set  of  pile-warps. 

Returning  now  to  the  Diagram  IX,  Fig.  820,  it  will  be  seen  that  both  the  pile-warps  are  up ; 
but  in  the  Diagram  X,  Fig.  820,  the  pile-warp  1  (which  has  just  formed  the  first  series  of  loops) 
is  down,  and  with  it  the  body-warps  3  and  4  have  descended,  leaving  only  the  pile-warp  2  up  and 
ready  to  be  engaged  by  the  wires  a,  whereupon  a  repetition  of  the  ten  positions  indicated  will 
occur  with  the  pile-warp  2,  and  so  on  throughout  the  weaving  operation,  the  rows  of  pile-loops 
alternating  from  the  warps  1  and  2. 

In  the  method  illustrated  in  the  diagrams  six  picks  of  filling  are  represented  between  the 
rows  of  pile-loops  ;  but  this  number  can  be  varied  by  varying  the  frequency  of  movements  of 
the  frame  and  wires  relatively  to  the  picks  of  the  shuttle,  and  in  many  cases  a  much  less  num- 
ber of  picks  will  be  found  sufficient  to  lock  the  pile-loops,  so  as  to  prevent  them  from  pulling 
out. 

The  invention  claims  further  that  the  frame  and  its  sectional  wires  can  be  applied  to  almost 
any  well-known  form  of  loom  without  interfering  with  the  general  arrangement  thereof,  and  by 
merely  increasing  the  number  of  wires  a  the  fabric  may  be  produced  of  as  great  width  as  the 
loom  is  capable  of  weaving.  In  the  drawings  the  number  of  wires  has  been  arbitrarily  reduced 
and  their  individual  proportions  exaggerated,  in  order  to  more  clearly  show  their  construction ; 
but  in  practice  for  making  Astrakhans  good  results  are  obtained  with  wires  one-eighth  of  an  inch 
gauge,  each  about  four  inches  long.  Wires  of  any  gauge  may,  however,  be  used,  according  to 
the  fineness  of  pile  which  it  is  desired  to  produce,  the  only  limit  being  in  the  stiffness  of  the 
wire,  which  of  course  may  be  relatively  increased  by  diminishing  the  length  of  the  individual 
sections. 

Machines  for  Curling  Warp-threads  for  Astrakhans. 

In  the  manufacture  of  "Astrakhans"  (and  similar  fabrics)  it  is  necessary  to  impart  a  perma- 
nent curl  or  twist  to  the  warp  threads  which  are  to  form  the  face  of  the  fabric.  The  yarn  is 
crimped,  the  length  of  the  crimp  being  regulated  by  the  amount  of  waviness  it  is  desired  to  give- 
The  crimping  is  set  in  the  yarn  by  a  steaming  process;  the  yarn  is  then  made  into  a  warp  and 
woven  over  wires  and  cut,  or  the  wires  are  withdrawn  without  cutting,  as  explained  in  the  preced- 
ing articles  on  weaving  these  fabrics.  The  moment  the  wire  is  withdrawn  (cut  or  uncut,  as 
required,)  it  falls  into  crimps  again,  and  thus  is  produced  that  wavy  shagginess  which  characterizes 
the  surface  of  these  fabrics. 

Until  lately,  the  method  of  producing  these  wavy  yarns  was  a  very  slow  one,  the  operation 
having  been  performed  by  hand.  At  present,  however,  they  are  produced  quickly  and  entirely 
automatically  by  one  operation  of  the  machine. 

Figs.  823,  824  and  825  illustrate  a  machine  for  performing  this  work. 

The  main  part  of  the  machine  is  a  solid  metal  spindle,  on  which  the  thread  is  wound  from  a 
bobbin  having  a  rotary  motion  around  the  spindle.  As  soon  as  the  thread  begins  to  wind  on  the 
spindle  it  is  forced  between  two  rolls,  which  are  pressing  against  the  direction  of  the  winding  of 
the  thread  on  the  spindle,  and  through  their  rotation  draw  the  thread  from  the  spindle. 

These  rolls  are  heated  by  a  gas  jet  and  transfer  their  heat  to  the  thread.  Through  the  pres- 
sure and  the  heat  the  required  curling  of  the  thread  is  fixed. 


181 


Fig.  823  represents  a  side  view  of  the  machine.  Fig.  824  represents  the  top  view.  Fig. 
825  represents  the  mechanism  for  curling  the  thread  (enlarged  from  Figs.  823  and  824). 

In  Figs.  826,  827,  828,  829  and  830,  we  illustrate  another  machine  (patented  by  T.  Harrison) 
for  preparing  these  pile  warp-threads  for  Astrakhans  or  similar  fabrics.  Fig.  826  represents  the 
front  elevation  of  the  machine.  Fig.  827  a  vertical  central  section  through  the  coiling  device. 
Fig.  828  illustrates  a  side  elevation  of  the  uncoiling  device.  Fig.  829  represents  the  top  view  of 
the  latter,  and  Fig.  830  a  view  of  the  stop,  by  means  of  which  a  positive  motion  is  imparted  to 
the  coiling  mechanism. 

We  will  next  give  a  description  of  the  different  parts  of  this  machine  as  mentioned  in  the 
invention. 

1  B  represents  the  frame  of  the  machine,  consisting  of  two  parallel  housings,  with  an  inclined 
upper  portion  marked  B1. 

A3  is  the  driving  shaft,  to  which  the  power  is  imparted  by  a  belt  upon  the  pulley  A1.  Upon 
the  driving  shaft  is  mounted  a  drum,  extending  entirely  across  the  interior  of  the  machine,  and 


which  is  provided  at  intervals  with  grooves  to  receive  a  series  of  small  driving  cords  or  belts, 
which,  after  being  brought  into  a  horizontal  plane  by  passing  the  inclined  part  of  the  belt  over 
idlers,  pass  around  a  series  of  horizontal  "whirls,"  which  are  journaled  upon  vertical  rings  H 
secured  in  a  series  of  openings  formed  in  the  transverse  platform  L2.  These  whirls  are  formed 
with  a  circumferential  flange  on  their  upper  side,  thus  providing  seats  for  the  "  fliers  "  G  and  F. 
The  three  fliers  marked  G  are  coiling  devices,  the  three  marked  F  being  the  uncoiling  devices. 
The  coiling  fliers  each  consist  of  the  two  uprights,  mounted  at  the  bottom  upon  a  ring  which  fits 
snugly  within  the  flange  of  the  wheel.  At  the  top  the  two  uprights  are  connected  with  a  central 
sleeve  which  revolves  upon  a  vertical  tubular  stem,  which  passes  downward  through  the  axis  of 
rotation  of  the  flier  and  for  some  distance  below,  where  it  is  secured  in  the  transverse  piece 
E\  extending  across  from  side  to  side  of  the  machine  at  the  front  thereof.  The  spool  upon  which 
the  warp  that  is  to  be  coiled  is  wound  in  the  first  instance,  fits  snugly,  but  so  as  to  revolve  freely 
upon  the  outside  of  the  before  mentioned  stem  and  rests  upon  a  standard,  through  whose  centre 
the  said  stem  passes  freely. 


182 


The  last  mentioned  standard  passes  freely  through  the  ring  H  and  is  supported  upon  a 
fixed  platform  K.  The  coiling  flier  is  provided  with  eyes  /  ll  L,  the  latter  of  which  is  situated  at 
the  top  of  the  sleeve  G4,  and  is  at  right  angles  to  the  axis  of  rotation.  At  the  bottom  of  the 
coiling  fliers  are  stop-pins  K2  (see  Fig.  830)  projecting  into  slots  in  the  flange  of  the  whirls. 
These  stops  make  the  rotation  of  the  coiling-fliers  positive. 

As  before  stated,  there  are  in  the  machine  shown  in  the  drawing,  Fig.  826,  six  of  the  horizon- 
tal whirls,  three  of  which  drive  the  coiling-fliers,  the  other  three  driving  the  uncoiling-fliers. 
These  latter  resemble  the  coiling-fliers  in  shape,  having  uprights  connected  by  bottom  rings, 
which  rest  loosely  within  the  flanges  of  the  whirls,  but  which  (unlike  the  coiling-fliers)  are  not 
positively  connected  therewith,  the  weight  of  the  flier  alone  being  the  means  by  which  it  receives 


Fig.  826. 


its  motion  from  the  whirl.  The  uncoiling-fliers  have  eyes//1  at  top  and  bottom,  respectively, 
the  latter  being  the  eye  which  delivers  the  thread  to  the  spool  or  body.  They  have  also  at  the 
top  a  brake  mechanism. 

A  tubular  stem  extends  down  through  the  axis  of  rotation  of  each  of  the  uncoiling-fliers, 
and  is  held  in  the  cross-bar  Ef.  These  stems  receive  bearings  at  the  top  of  the  uncoiling-fliers. 
The  spools  or  bobbins  of  the  uncoiling-fliers  fit  snugly  around  the  stems  and  are  supported  upon 
standards  which  also  surround  said  stems,  but  which  are  mounted  upon  a  vertically-movable 
cross-piece  arranged  to  be  reciprocated  in  a  vertical  direction.  The  spools  or  bobbins  of  the 
uncoiling-fliers  are  thus  adapted  to  receive  a  rising  and  falling  movement  within  the  flier  during 
the  rotation  of  the  latter,  and  in  this  respect  differ  from  the  spools  of  the  coiling-fliers,  which  are 


183 


stationary  so  far  as  vertical  movement  is  concerned.  The  upper  ends  of  the  fliers  extend  into 
openings  in  the  shelf  or  platform,  provided  with  rings,  and  are  thus  shielded  during  rotation. 
The  latter  shelf  is  hinged  at  the  rear,  so  as  to  be  thrown  back  when  the  fliers  are  to  be 
removed. 

The  brake  mechanism  of  the  uncoiling  fliers  is  constructed  as  follows :  Upon  the  top  of  each 
sleeve  there  is  pivoted  upon  one  side  a  lever,  through  the  centre  of  which  there  is  a  vertical  hole 
coinciding  with  the  opening  of  the  stem.  This  lever  has  at  its  rear  end  a  cam-surface,  which, 
when  the  lever  is  in  a  horizontal  position,  rests  without  substantial  pressure  against  the  stem. 
At  the  front  end  of  the  lever  is  an  eye  through  which  the  thread,  which  is  being  uncoiled,  passes, 


Fig.  827.  Fig.  828. 


and  thence  rises  to  the  eye  i,  mounted  upon  the  top  of  the  flier.  So  long  as  the  portion  of  the 
thread  between  the  eye  and  the  axis  of  rotation  of  the  fliers  is  substantially  horizontal  the  lever 
will  remain  in  a  horizontal  position ;  but  if  that  portion  of  the  thread  rises  to  an  angle  with  the 
horizontal,  then  the  strain  upon  the  eye  will  raise  the  front  end  of  the  lever  and  bring  the  cam  p 
gradually  around,  so  as  to  press  upon  the  top  of  the  stem.  The  cam-surface  being  eccentric,  as 
it  turns  in  the  direction  of  its  longest  axis,  it  will  raise  the  flier  F  bodily  by  bearing  upon  the  top 
of  the  stem,  and  in  so  raising  it  will  lift  the  flier  clear  of  the  whirl,  so  that  motion  will  be  no 
longer  imparted  to  the  flier.  If  desired,  the  lift  may  be  such  as  to  bring  the  upper  part  of  the 
flier  into  frictional  contact  with  the  under  side  of  the  ring. 


184 


At  the  top  of  the  machine  is  mounted  upon  suitable  pins  the  spools  or  bobbins  My  which 
contain  the  cord  which  is  to  form  the  core  for  winding  the  Astrakhan  warp  upon.  These  bobbins, 
like  the  coiling-fliers,  are  three  in  number,  and  the  cord  from  them  passes  through  feeding 
mechanism,  down  over  pulleys  mounted  upon  a  horizontal  shaft,  and  through  the  central  stem  of 
the  coiling-fliers. 

A  belt  conveys  motion  from  the  driving-shaft  A3  to  a  pulley,  and  thence  by  gears  and  pinions 
a  very  slow  rotary  motion  is  imparted  to  the  shaft,  which  extends  entirely  across  the  top  of  the 
machine,  near  the  bottom  of  the  incline.  Upon  this  shaft  are  mounted  friction-rollers  S,  three  in 
number,  over  which  the  cord  passes  on  its  way  from  the  spools  M.  Upon  the  cross-piece  v  are 
mounted  overhanging  arms  which  support  the  shaft  Q,  on  which  are  mounted  friction-rollers 
bearing  down  upon  the  rollers  5.  The  shaft  Q  is  provided  with  a  spring  pressure  device,  con- 
sisting of  a  vertical  stem  having  a  sliding  collar  with  a  hook-shaped  projection,  which  engages 
with  the  shaft,  and  a  spring  whose  tension  is  adjustable  by  means  of  a  thumb-nut.  By  means  of 
this  tension  device  the  rollers  sf  can  be  caused  to  bear  upon  the  rollers  vS  with  any  desired  degree 
of  pressure.  Therefore,  although  the  take-up  devices  at  the  bottom  pull  the  cord  with  some 
strain,  it  is  fed  to  them  by  the  positive  motion  of  the  rollers  S,  and  cannot  be  drawn  more  rapidly 
than  the  rotation  of  the  latter  will  permit.  A  similar  set  of  feeding-rollers,  w  w' ,  the  latter 
mounted  in  similar  spring-bearings,  are  arranged  to  deliver  the  cords  from  the  bobbins  0  to  the 
three  uncoiling-fliers  upon  the  other  side  of  the  machine;  but  the  diameter  of  the  positive  feed- 


ing-rollers w  is  less  than  that  of  the  feeding-rollers  S,  and  with  the  effect  of  feeding  more  slowly 
to  the  uncoiling-fliers  than  to  the  coiling-fliers. 

The  take-up  bobbins  0'  M  for  the  cords,  which  pass  from  the  coiling-fliers  and  uncoiling- 
fliers  respectively,  are  mounted  upon  horizontal  rotating  seats  R,  placed  at  the  bottom  of  the 
machine  and  driven  by  the  twist-belts  passing  around  pulleys  secured  to  the  seats.  The  twist- 
belts  are  so  arranged  that  they  can  slip  upon  their  respective  pulleys,  in  case  the  feed  from  above 
requires  such  slipping. 

In  order  to  wind  the  cords  upon  the  respective  bobbins  0'  M  evenly,  a  traveling  guide-bar, 
E,  is  provided,  which  receives  a  slow  vertical  reciprocating  motion.  This  traveling  bar  carries 
vertical  rods,  which  rise  and  fall  with  it,  these  rods  being  guided  by  suitable  openings  in  the 
cross-bar  E.  The  rod  f  serves  merely  as  a  guide-rod,  but  the  other  two  rods  f}  carry  at  their 
tops  a  cross-piece,  which  supports  the  standards  of  the  bobbins  F.  Thus  if  a  vertical  reciproca- 
tion is  imparted  to  the  traveling  bar  E  its  motion  will  cause  the  bobbin  to  rise  and  fall  in  the  same 
manner. 

The  traveling  bar  E  is  provided  with  openings  or  eyes  opposite  to  the  bobbins  0'  M,  which 
openings  guide  the  thread  during  the  rise  and  fall  of  the  bar,  so  as  to  distribute  it  equally  upon 
the 'bobbins. 

The  operation  of  the  machine  in  coiling  and  uncoiling  the  yarn  is  as  follows  : 
Upon  the  three  bobbins  My  at  the  top  of  the  machine  (see  Fig.  826),  are  coiled  cords  which 
are  to  form  the  cores  for  winding  the  Astrakhan  warp  upon.    These  cores  are  carried  down  be- 
tween the  feeding  rollers  5  5r,  over  three  of  the  rollers  v,  and  on  down  through  the  axes  of  the 


Fig.  829. 


Fig.  830. 


185 


three  coiling-fliers ;  the  passage  being  of  course  through  the  tubular  shafts.  They  then  are 
brought  down  and  passed  through  the  three  left-hand  eyes  of  the  traveling  guide-bar  E,  and  are 
secured  to  the  three  bobbins  O' .  The  Astrakhan  warps  which  are  to  be  coiled  are  wound  in  the 
first  instance  on  the  bobbins  G'f  and  placed  in  position  within  the  three  coiling-fliers.  The  ends 
of  the  Astrakhan  thread,  having  been  brought  through  the  eyes  /  /'  L,  are  tied  fast  to  the  three 
cores  at  a  point  just  above  the  fliers  G.  Assuming  now  that  the  proper  feeding  and  take-up 
movements  occur  at  top  and  bottom  of  the  machine,  respectively,  and  that  the  fliers  G  are  rapidly 
rotated,  it  will  be  seen  that  the  Astrakhan  thread  is  drawn  off  from  its  bobbin  and  coiled  tightly 
around  the  core.  As  the  coiling  progresses  the  feeding  and  take-up  movements  cause  the  com- 
posite cords  to  pass  down  through  the  tubular  shafts,  and  thence  to  the  bobbins  0' .  The  travel- 
ing guide-bar  E  causes  the  composite  cords  to  be  evenly  wound  upon  the  bobbins  Of. 

When  a  sufficient  quantity  has  thus  been  formed,  the  composite  cord — that  is  to  say,  the  core 
with  the  Astrakhan  warp  wound  tightly  around  it — is  removed,  steamed,  or  otherwise  treated  to 
render  its  twist  permanent,  and  is  then  ready  for  uncoiling.  A  portion  of  the  core  m  at  the  end 
of  the  composite  cord  is  left  uncovered  for  a  clearer  illustration. 

The  uncoiling  operation  is  as  follows  :  The  uncovered  end  portion  of  the  composite  cord 
(now  upon  the  three  bobbins  0  at  the  top  of  the  machine)  is  brought  down  through  its  feed- 
ing-rollers zv  wf  over  the  three  right-hand  rollers  v,  and  thence  down  through  the  tubular  shafts, 
through  the  three  right-hand  end  eyes  of  the  guide-bar  E,  and  secured  to  the  three  bobbins  M '. 
The  uncovered  portion  having  been  fed  down  until  the  commencement  of  the  covered  portion  or 
composite  cord  reaches  the  top  of  the  uncoiling-fliers.  Then  carry  a  loose  end  of  the  Astrakhan 
warp  through  the  eyes  of  the  lever  P  up  to  the  eye  i,  and  then  down  to  the  eye  z  at  the  bottom  of 
the  uncoiling-flier,  when  it  is  taken  across  to  the  bobbin  and  there  fastened.  The  feeding  move- 
ment at  the  top  and  the  take-up  movement  at  the  bottom  being  continued  and  the  uncoiling-fliers 
being  rapidly  rotated  in  the  proper  direction,  they  will  uncoil  the  warp  from  the  composite  cords 
and  wind  up  the  now  twisted  warp  upon  the  bobbins.  These  bobbins  have  the  proper  rising  and 
falling  motion  to  distribute  the  warp  evenly  upon  them.  The  uncoiling  movement  is  necessarily  a 
trifle  slower  than  the  coiling  movement,  hence  the  composite  cords  do  not  require  to  be  fed  so  fast  as 
do  the  cores  upon  the  other  side  of  the  machine.  This  difference  of  speed  is  produced  by  smaller 
diameters  of  the  feeding  rollers  w  as  compared  with  the  feeding  rollers  vS.  The  uncoiling  operation 
continues  and  the  cores are  wound  up  in  a  proper  manner  upon  the  bobbins  at  the  bottom  of  the  ma- 
chine so  that  they  can  be  again  transferred  to  the  positions  indicated  by  J/ and  the  operation  re- 
peated. If  the  uncoiling  tends  to  progress  too  rapidly,  it  is  checked  by  the  brake  mechanism 
upon  the  uncoiling-fliers,  which  are  operated  by  the  portion  n'  of  the  warp  assuming  an  inclined 
position,  instead  of  substantially  a  horizontal  one,  between  the  eye  and  the  core  from  which  it  is 
unwound.  If  the  uncoiling  takes  place  too  rapidly,  relatively  to  the  downward  feed  of  the  core, 
the  point  of  the  uncoiling  will  rise  higher  and  higher  upon  said  cord,  and  will  thus  produce  that 
inclination  of  the  warp  necessary  to  operate  the  brake  mechanism.  The  uncoiling  of  the  warp  is 
thus  automatically  regulated  by  this  brake  mechanism  and  cannot  progress  with  such  rapidity  as 
to  tangle  the  warp  or  to  break  it 

TAPESTRY  CARPET. 

Tapestry-carpet  is  a  warp  pile  fabric  in  which  the  loop  formed  by  the  face  warp-threads  is 
not  cut.  The  demand  for  its  production  is  found  in  the  need  of  a  cheaper  and  more  economical 
imitation  of  what  is  known  as  Brussels  carpet.  In  its  general  appearance  it  resembles  the  latter 
to  a  great  extent,  but  in  its  method  of  construction  differs  wholly  from  it,  as  may  be  seen  by  any 
one  that  examines  the  two  methods.  In  tapestry  carpets  three  different  systems  of  warp-threads 
are  used :  A,  the  ground-warp ;  B,  the  pile-warp  or  face-warp  ;  C,  the  stoffer  or  thickening-warp. 


186 


The  general  arrangement  for  the  warp  is : 
I  end  ground  or  binder-warp, 

I  end  double  or  three-ply  thread,  of  stout  linen  for  strengthening  or  thickening  the  body  of 
the  carpet,  resting  in  the  fabric  below  the  pile-warp  and  actually  forming  the  main  part 
of  the  back  of  the  structure. 

I  end  double  thread  of  worsted  for  face-warp  forming  the  pile,  by  being  interlaced  into  every 
third  opening  of  the  shed  over  a  wire,  as  required  for  the  face  of  these  fabrics. 

I  end  ground  or  binder-warp. 

4  ends  in  repeat  of  arrangement  of  warp  (=  one  set);  to  be  reeded  into  one  dent. 

The  pile  or  face-warp,  before  being  wound  upon  the  warp-beam,  has  the  pattern  printed 
on  it  by  wrapping  the  threads  around  a  large  cylinder,  and  coloring  them  according  to  the 
design. 

The  length  of  a  certain  color  for  each  pile-thread,  required  for  each  individual  loop  when 
woven,  is  regulated  by  the  size  of  the  needles  used. 

Fig.  831  illustrates  the  example  of  a  pile-warp  printed  as  required  before  weaving.  The 
same  illustrates  four  different  colors :  black,  white,  heavy-shaded  and  light-shaded. 

Fig.  832  illustrates  the  same  pile-warp  as  it  appears  when  interlaced  into  the  fabric;  each 
effect  in  the  warp  being  reduced  to  its  required  size  or  proportion  to  the  corresponding  effect  in 
the  design. 

Fig.  833  illustrates  the  sectional  cut  of  the  fabric. 

A  and  A'  represent  the  ground-warp;  B,  the  thickening- warp;  C,  the  pile-warp;  W,  the  wire 
requiring  every  third  opening  of  the  shed.  Picks  1  and  2,  requiring  the  first  two  openings  of 
the  shed  in  the  repeat  of  three,  are  the  means  for  interlacing  the  ground-cloth  as  well  as  fastening 
the  pile  to  this  ground  structure. 

Fig.  834  illustrates  the  complete  draft,  or  weave  for  producing  a  tapestry  carpet.  Each 
warp-thread  and  pick  is  marked  in  accordance  with  previously  given  explanations. 

Different  Qualities  of  Tapestry  Carpets. 

The  fineness  as  well  as  the  value  of  these  carpets  is  regulated  by  the  quality  of  the  material 
used  as  also  by  the  height  of  the  pile  and  number  of  pile-pick  (technically  known  as  number  of 
wires)  per  inch.    Seven  to  eight  wires  per  inch  are  about  the  usual  number  in  the  arrangement. 

Method  for  Ascertaining  Size  of  Designing  Paper  Wanted. 

The  designs  for  tapestry  carpets  are  generally  painted  on  the  squared  designing  paper  in 
about  a  size  equal  to  the  design  upon  the  face  of  the  fabric  when  woven.  Thus  the  number  ot 
small  squares  to  one  inch  in  a  horizontal  as  well  as  a  vertical  direction  on  the  designing  paper  is 
regulated  by  the  number  of  loops  in  the  woven  fabric,  both  in  the  direction  of  the  warp  and  the 
filling. 

In  some  cases  the  number  of  loops  is  equal  in  both  directions,  while  in  others  it  differs  to 
some  extent.  Designing  papers  known  as  8  x  8  to  1  inch  and  8x7  to  1  inch  are  those  most 
frequently  used.  Tapestry  carpets  are  generally  produced  27  inches  wide ;  therefore  the  design 
will  have  to  be  of  equal  width.  That  arrangement  for  the  design  may  be  selected  known  as 
the  "  half-over  pattern,"  or  one  that  has  one  complete  repeat  in  one  width;  or  a  design  may  be 
produced  which  repeats  twice  (or  oftener  if  small  figures  are  wanted)  in  one  repeat  of  27  inches  in 
the  fabric. 

Lately  a  method  of  producing  effects  in  tapestry  carpets,  classified  as  "  sheeny  "  or  "  varie- 
gated," has  been  patented  in  this  country,  England  and  France,  but  is  nothing  more  than  a 


187 


method  of  arranging  the  design  of  the  carpet  so  as  to  make  use  of  more  or  less  solid  colored 
pile-warp  yarn,  hence  requires  no  printing  for  this  amount  of  warp.  In  Fig.  835  such  an  effect 
is  illustrated ;  a  represents  the  solid  colored  threads,  b  represents  the  printed  threads.  Each 


Fig.  831.  Fig.  835. 


kind  of  pile-warp  is  operated  from  a  separate  beam ;  so  it  will  be  seen  that  a  general* range  of 
effects  can  be  produced  by  simply  varying  the  solid  colored  threads  in  each  style,  leaving  the 
printed  warp  entirely  undisturbed. 


188 


BRUSSELS  CARPET. 

Brussels  carpet  is  a  warp-pile  fabric  in  which  figures  are  produced  by  raising  over  the  wire 
different  solid  colored  warp-threads  at  certain  places  according  to  the  design.  Brussels  carpets 
are  of  a  far  superior  character,  as  respects  color,  quality  of  material  used  and  the  structure,  than 
the  tapestry  carpets  which  have  been  just  explained. 

In  Brussels  carpets  the  colors  used  are  generally  "  fast,"  as  the  yarn  is  hank-dyed  and  not 
colored  in  the  warp  as  is  done  with  the  tapestry  carpets. 

Brussels  carpets  are  technically  classified  by  "  frames,"  or  in  other  words  by  the  number  of 
different  colors  called  for  in  a  vertical  row  of  squares  on  the  designing  paper,  as  also  one  row 
of  loops  in  the  direction  of  the  warp  in  the  fabric. 

In  tapestry  carpets  one  double  thread  of  worsted,  printed  according  to  the  design,  is 
used  for  one  row  of  loops  (warp-ways)  while  in  Brussels  carpets  a  similar  double  thread  is 
used  for  each  color  as  required  by  one  row  of  squares  warp  ways  in  the  design.  One  color 
only  is  raised  at  the  time,  while  the  threads  then  not  called  for  rest  in  the  body  and  partly 
on  the  back  of  the  fabric ;  therefore  the  thickness  and  substance  of  the  fabric  is  not  due  to 
cotton  or  jute  thickening  threads,  as  in  the  body  of  the  tapestry,  but  the  same  pure  wool- 
thread  which  forms  the  face  will  at  every  place  not  called  for  by  its  color  in  the  design,  form 
part  of  the  "  body." 

The  ground-warp  in  Brussels  carpets  is  interlaced  with  the  filling  on  the  common  four- 

harness  basket-weave  ( i    ,  )  arranged  so  as  to  have  each 

two  successive  picks  insert  in  the  same  opening  of  the  shed 
(of  the  ground-warp)  and  only  separated  by  the  pile  warps. v 
One  pick  passes  above,  and  its  mate  pick  below  the 
pile  warp-threads  holding  the  latter  firmly  secured  between;. 
thus,  if  the  raising  of  the  pile  warp  over  its  wire  for  forming  the  characteristic  loop  should  be 
omitted,  we  would  produce  nothing  more  than  a  fabric  interlaced  on  the  common  four-harness 
basket-weave  having  a  stout  packing  or  thickening  thread  in  the  centre. 

As  mentioned  before,  Brussels  carpets  are  graded  by  iC frames"  There  are  three-frame,  four- 
frame,  five-frame  and  six  frame  Brussels  carpets. 

Under  "  frame  "we  classify  the  number  of  different  colors  found  in  the  different  rows  of 
squares  in  a  vertical  direction  on  the  designing  paper ;  thus  a  three-frame  Brussels  carpet  has 
three  different  colors  in  one  row  of  loops  (warp-ways)  in  the  fabric.  Any  of  these  three  colors 
can  at  any  other  row  of  loops  (warp-ways)  be  exchanged  to  a  different  color  without  changing 
the  principle  of  a  "three-frame"  carpet. 

A  "four-frame"  Brussels  carpet  will  extend  the  number  of  colors  for  each  row  of  loops  to 
four  colors.  Thus,  a  "five-frame"  Brussels  carpet  will  show  five  different  colors  in  one  row 
of  loops  warp-ways.  A  "six-frame"  Brussels  carpet  will  extend  these  number  of  changes  to  six 
colors. 

Having  an  individual  warp-thread  for  each  color  in  the  formation  of  the  loops  will  also 
speak  greatly  in  favor  of  the  Brussels  as  compared  to  the  tapestry  carpets.  By  means  of  these 
separate  threads  the  design  will  be  more  clearly  defined  and  its  various  parts  more  pronounced, 
while  in  tapestry  carpets  the  figure  is  always  more  or  less  indistinct,  which  arises  from  the 
method  of  operation  by  which  the  pattern  is  produced. 

In  Brussels  carpets  the  different  colors  used  are  variously  distributed,  one  color  being  used 
to  a  greater  extent  than  the  other,  etc.  This  method  of  using  every  pile  warp-thread  at  will  and 
in  a  different  amount  than  another,  requires  us  to  use  instead  of  ordinary  warp  yarn  beams, 
bobbins  or  miniature  beams  fixed  in  frames,  or  a  huge  creel,  stationed  behind  the  loom.  The 
manner  in  which  the  different  colors  are  controlled,  in  other  words,  in  which  they  are  concealed 


189 


from  or  brought  into  view  upon  the  face  of  the  fabric  is  of  great  importance  in  the  manufacture 
of  this  article. 

Method  of  Structure  of  the  Brussels  Carpet. 

The  pile  (loop)  is  formed  the  same  as  in  common  (uncut)  velvet  fabrics  by  the  insertion  of 
wires  (see  Fig.  836)  under  the  pile-threads;  but  the  method  of  selection  is  different.  In  producing 
a  common  velvet  fabric  we  raise  either  the  entire  warp  or  one-half,  etc.,  over  each  wire,  while  in 
Brussels  carpet  we  select  for  each  individual  loop  from  a  series  of  duplicate  threads  (set-frame) 
each  of  which  has  a  different  color.  Another  difference  between  a  common  velvet  fabric  and  a 
Brussels  carpet  is  found  in  the  manner  of  operating  the  pile-warp  during  the  insertion  of  ground- 
picks.  In  common  pile  fabrics,  as  explained  in  preceding  articles,  the  pile-warps  interlace  up 
and  down  in  the  body  of  the  fabric,  while  in  Brussels  carpet  the  face  or  pile-warp  rests  during 
the  time  it  is  not  used  for  forming  loops  in  a  straight  line  in  the  body  of  the  fabric. 

Three-frame  Brussels  Carpet. 

Fig.  837  illustrates  part  of  a  design  technically  known  as  a  "  three-frame  "  Brussels  carpet. 
In  the  same  the  different  colors  for  8  loops,  warp  and  filling-ways  (which  equals  in  the  present 


□■a      na  i  «a      aa  \     m::  :  i 

□■a  >  !□■:•;  i     ■::    ■  ■::  ■  ■        «a  i 

□■a  ;  !  ■::  ■::  aa  a  a  aa  «a  aa  i 
uma  1    aa      aa  :    aa      aa      aa      aa      aa  i 

□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ 

t     .  □□□□□^□□□^□□□□□^□□□^□□□□□^□□□^□□□□□^□□□&2* 
sm^m^m^  8th  wire.    EH  ■  a  a  ■  ■  ) 

'R„Rr"'R,,R  EBQHIHDEHSDIEBQQiSDHEEniKIEEE.  ■.    •  ■  ■  -.3GO 

■  ■  ■     aaa                                              ^□□□^□□□□□^□□□^□□□□□KiaE'-  i 
paa  .  aaa                                       7th  wire,  c  a        a        a                         a        a        a  : 
■  ■■  SK.  ee  ■„■:.:•;   1 

W&  ,  W&l                                       6th  wire,  n  a        a        a                         a        a  a  i 

i2K^,-^2  eee-e  •  •  •   i 

5th  wire.        ^    a          '  m  .  ■  ■  :.  i  ■               ■  a  .!    :  .a1  /  j 

u    .  dcj      :■:    i            :■.  ,    :■:         .•:      e  :■:  :3 

4th  wire.         a     .   ■  ■  ■  ■.  ■  /~    I  >  i 

,    .     a'y^L-rLr'''.  . :      :■:  ! '          '  '\  '  '         '  '  :■:   '  J 

3rd  wire,  l  :  a        a  a                          a        a        a  i 

ce      y.  ■         ■  ■  ■  ■  ■  ■    o 

.  .     e_.l Ll        ee  •--  .  .  :■:    r  . .       .         . .  :o 

2nd  wire.  1    H        a  a                         a        a        a  i 

ee;-   :    •  ■ .    -  •  •  i 

e_  l".l  e._.el,  ;E      :-;       .  :■;      ;  ::         :-:      *         .  J 

1st  w.re.  ■         a        a      ■ " 

□□□□□KEHHKlEEEQEKlEEEHCEEEEHQBEElEEEEDKIQQaKll 

1st         2nd        3rd        4th         5th         6th         7th  8th 
\  dent.     dent.  |  dent.  |  dent.      dent.  |  dent.  |  dent.  |  dent.  | 


Fig.  837. 


Fig.  838. 


example  8  by  8  =  64  loops)  are  indicated  for  each  color  by  a  separate  kind  of  type.  In  the  same 
line  of  the  design  (looking  at  the  design  lengthways),  apparently  in  the  same  thread,  three  colors 
form  the  pile  in  succession,  which  is  practically  produced  by  employing  three  distinct  threads, 
each  of  which  is  so  controlled  that  it  only  appears  in  the  pile  when  required  to  produce  the 
design. 

In  Fig.  838  the  ground  plan  of  the  method  of  interlacing  is  shown.    On  the  top  of  the  plan 
the  arrangement  of  the  warp  is  indicated. 
1  end  binder-warp. 

3  ends  face  or  pile-warp,  each  representing  a  two-fold  end  of  worsted  and  each  of  these  3  so 

indicated  pile-threads  to  be  of  a  different  color  than  the  other. 
I  end  binder-warp. 

5  ends  in  the  repeat  of  arrangement  for  the  warp.  Thus  5X8  =  40  threads  of  warp  in  ground 
plan,  representing  the  construction  of  a  3-frame  Brussels  carpet,  similar  to  the  one  shown  in 
design  Fig.  837. 


190 


In  plan  Fig.  838  every  shed  for  inserting  the  wire  is  represented  on  the  left  side  of  the 
design;  and  on  comparing  with  the  part  of  the  design  of  the  face,  Fig.  837,  it  represents  the 
threads  as  indicated  in  the  latter  raised  from  each  set. 

Pick  1  in  the  design  calls  for  1  ■,  1  m,  1  ■,  2  I  ■,  1  m,  lm.  Examining  wire  1  in  the  plan  we 
find  the  selecting  of  the  different  colors  from  each  set  arranged  accordingly. 

Thus  we  select — 

From  the  first  set 
"  second 

third 

fourth 

fifth 

sixth 
"  seventh 


eighth 


etc. 


Pick  2  in  the  design  calls  for  3  2  ■,  3  a,  and  the  colors  of  the  face-warp  for  raising  over 
wire  number  2  in  the  plan  are  selected  accordingly. 

From  the  first  set  of  3  pile  warp-threads  we  call  for 


second  " 
third  " 
fourth  " 
fifth  « 
sixth  " 
seventh  " 
eighth  " 


Pick  3  is  a  repetition  of  pick  number  2. 

Pick  4  in  the  design  calls  for  1  a,  1  ■,  1  ■,  2  ■,  1  ■,  1  ■,  1  a,  and  the  colors  of  the  pile-warp 
raising  over  wire  number  4  in  the  plan  are  selected  to  correspond. 

From  the  first  Get  of  3  pile  warp-threads  we  call  for 
"       second  "       "  " 


third 

fourth 

fifth 

sixth 

seventh 

eighth 


Pick  5  in  the  design  calls  for  1  ■,  1  ■,  1  ■,  2  ■,  in,  I  ■,  I  a,  and  the  colors  of  the  pile-warp 
raising  over  wire  number  5  are  selected  to  correspond. 

From  the  first  set  of  3  pile  warp-threads  we  call  for  n. 

second  <; 
third  " 
fourth  " 
fifth 

sixth  " 
seventh" 
eighth  " 

Picks  6  and  7  are  duplicates  of  picks  numbers  2  and  3. 


191 


Pick  8  in  the  design  calls  for  i  ■,  i  i,  i  ■,  2  s,  I  ■,  i  a,  1  ■,  and  the  pile  warp-threads  raising 
over  wire  number  8,  as  shown  in  the  plan*  are  selected  to  correspond  in  colors. 

From  the  first  set  of  3  pile  warp-threads  we  call  for 

second  "       "  "  "        "  a. 

third     "       "  "  "        "  ■. 

fourth  "       "  "  "        "  a. 

fifth      "       "  "  «        "  a, 

sixth     "       «  "  "        "  ■. 

"       seventh"       "  "  "        "  m. 

eighth   "       "  "  "        "  ■. 

Any  pick  that  will  be  called  for  in  any  complete  design  always  has  its  method  of  interlacing 
arranged  similar  to  the  principle  explained  in  the  specimen  8  picks  of  part  of  a  design  given  for 
example. 


Fig.  839.  Fig.  840. 

The  two  binder  warp-threads  working  between  each  set  of  threads  in  Brussels  carpet  of  any 
"frame,"  interlace  with  the  filling  as  shown  in  Fig.  839. 

The  reeding  of  a  3-frame  Brussels  carpet  is  arranged  for  "  I  binder,  3  pile,  1  binder,"  in  each 
dent ;  thus  splitting  by  the  reed  always  the  two  binder  warp-threads. 

Fig.  840  illustrates  the  section  of  a  3-frame  Brussels  carpet.  In  the  same,  threads  marked 
d  and  e  represent  the  binder-threads.  A,  B,  C,  represent  the  3  different  colored  pile  warp-threads. 
Wires  1,  2,  3,  4,  5,  6,  7,  illustrate  the  section  of  the  wires  as  used  in  the  opening  of  the  3d,  6th, 
9th,  12th,  15th,  18th,  and  21st  opening  of  the  shed.  Picks  1,  2,  4,  5,  7,  8,  10,  II,  13,  14,  16,  17, 
etc.,  of  the  ground  structure  of  the  fabric  are  indicated  by  shaded  circles. 


Fig.  841. 


The  binder-warp  is  drawn  in  two  common  harness  frames  which  are  placed  in  front  of  the 
Jacquard-harness.  The  face  or  pile  is  drawn  in  the  Jacquard-harness,  which  is  tied  up  for  as 
many  sections  as  there  are  frames  in  the  carpet,  so  that  in  the  present  example  of  a  3-frame  car- 
pet we  must  use  a  3-section  tie-up.  (See  section  on  "tie-ups"  in  my  treatise  on  The  Jacquard, etc.) 
By  forming  the  shed  for  the  insertion  of  a  wire  only  one  pile  warp-thread  from  each  set  is  raised, 
as  is  required  by  the  design.  If  the  pile -warp  in  a  carpet,  constructed  as  thus  far  explained,  is 
cut,  the  name  Brussels  is  changed  to  Wilton. 


192 


Diagram  Fig.  841  illustrates  the  method  of  interlacing  a  3-frame  Brussels  carpet.  This 
diagram  readily  explains  itself  on  examination.  Warp-threads  indicated  by  A,  B,  C,  are  the  three 
different  colored  pile-threads  required  (as  explained  before).  Thread  A  is  shown  blank,  thread  B 
shaded,  and  C  black.  The  binder  or  body  warp-threads,  situated  in  the  fabric  on  each  side  of  the 
face-threads,  are  indicated  by  /  and  2.    The  ground  picks  and  places  for  inserting  the  wires  are 


C       j-i       C  *j 


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2nd  wire. 
1st  wire. 


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□□□sncnnHonno" :i   1  ]□  jggsglibggggqggbgg 

EEBLGBHGBBEBGKBBBBaaSBBBGKlBBBElxlGBBBBGKBBBEKinBEEEG 
BCQGGKIQGGQGGIElQGGGKQQGGGGBr]GGUKGGGGGGKGGQGEGQQQGD 

nuBuuuucuBnnnauHGunanBBnBBLi:  s  1 

 IQBKll 


ISt 

dent. 


2nd  [ 

1    dent.  1 

1  dent. 

4th 
dent. 


.5th 
dent, 


6th 

1     7th  1 

1  dent. 

1   dent.  1 

8th 
dent. 


Fig.  844. 


marked  on  the  bottom  of  the  diagram.  P  on  the  top  of  the  drawing  represents  the  interlacing 
of  the  fabric,  omitting  the  loops,  and  thus  giving,  at  a  glance,  the  correct  principle  of  interlacing 
the  body. 

Fig,  842  illustrates  the  weave  for  this  part.  Shed  for  "  wire  "  omitted.  on  the  top  of  the 
drawi?ig  Fig.  841  represents  the  entire  procedure.  The  wire  marked  /  calls  for  the  raising  of 
warp-thread  C  (==  black)  for  forming  the  face  of  the  fabric.  Wire  marked  2,  the  successive  wire, 
calls  for  the  raising  of  warp-thread  B  (=  shaded)  for  forming  the  face  of  the  fabric. 


I.  B3 

BB 

r  a  a 

□  in 


sn    aa  *□  .  aa  .so    iia;:aoi  .  ma-  sou1  .aa.  sn  7  aa:  snui  aa:  sn  i 

.  aa  so  1  a  a  *c  .  mi:  . 

aa  so  «a  isn  :  a 3  sa  : 

:SE3  1   B3  ISO  .  B3  '.SD  .    B3  SD 


^Hnnaasnffl 
S3  i  :aaan 

□S3  BB3 

ansa    a a 

B3QS3:  a 
BB3DS3 

BBBHDfflQI  1 
1BBBBQDE8H 

Fig.  845a. 


—□□□□uui.  ii  jLiuuncuuuui 
□□□rjannKiunnnusuuu'.:]  un^ra.K  ii  .[•;:..(      ui  iuu 

8th  wire.  I  I   3  '  f  -I'  !  IB  B 

EEEEEBDa 
— LT81DO 

I  ~f  I!  - 


.  UI.JL-JI   I!  J    J l  J  — I — J    I'  Kl1-!  I    J    1    n  ILIUUBUULIUUUBUH 

:  ■  •   •■:   ■:  

[•Ui      :  1  .-.        U  1  1  iG     1M..GGRGUGGUI  ;UEUGU1 

.  □□□□SBGGQG3  )''?,  I  ]rlr]T1  lUUMUUBUUnUBUni 


7th  wire. 

'  □□□□ 
□□□□ 
6th  wire.  ^^^'7' 

^□nn 
sth  wire,  naau 

□□□□□□□^□□□□□^□n 


-HBfflQBBBH  

aa.  sn  B3  so  ] 
a  a  sn  ,  aa.  sn  i 

□□□□□LU  .!□□□□□ 
□□□□□□□□□□□□□□□□□□ A 

■    u  :■.  ./  . 

□□□□□□□□□□□□□□□sna 

□□□□KBBBBBSUEBBEBn 

□□□□^□□□□□^□□□□□□n 
□□□□□'  a  ■ 


 □□□! 

■:  :.iuuBUU[-:[-;uur-"ur-  r-    ■ 

iu  iu .]  ii  .ui  .[•;!  ...  1  ii  1  i  i-:;  i  .  ,.,         u,  .. :  uuuljluiB 


□□□□□□«□□□□□. 
□□^□□□□□□□iaDL" 

J  JB  ]JJ  ILJni  1D0U1 
2  '  3 

•  ■    LU!  ■.  •]□:•]!■.    •  ■ 

1  uu  I  1  1U1  ,[•:  u  ii.  ju 


□["jroDDaauauDnnnacan 

"  ■□□□□KBBBBBEBBBBBBD 

1  jnanE^aDLJUEDnnnaan 
^□□□^□□□□□□■□□□□a 

 ^BBBEnEBBBHUEEBBBBE 

:  •:•    11  DCS 


4th  wire.  uBunnununacjauanaaunn  u      s       a  1  auuuna 

[■:■<■:■.■■:■:  •: luluu.u. -iu^-jiuu]:-/-; •  'U-;  u-'uu-  .:-''-U7- u-:!  Ellhhd 

E       i  7  7-,  ]■  U    I  ,  iUU  IU.  !  J  !!■]  JJUDDM  !□□!  11  IXH  O  □□!  I  L7..V:Li.  DHDIJnXlD 
3rd  wire.  □■□□□□□□■□□□□□□□£!□□□□□□□□[-  □  S  3  '□□□□□■□□□ 

r ......  .      --7U,       ■  •:•       luul-  •  7-:  ■  ■  •  ■  ■  -ubbbbki 

u  :.  ,        7         :■:      iu  u     ?,  kTi  ii-u;U  u,  ll  'u  77:7  ;:  Li  j  a  1  uliEuuudde 

2nd  wire.  !  B  B  3  □  S  3  U 

7  777.7777:7    :■:  •■■ubbbe.'jeeee!-;  7.7  7i-_uuuuuuu;7;-.LjU 

[■;.  ,  ,      :7        1  1  1  7-;  .  1  1.  ,  iu  ;..  uu  ,  11  .  77  :■:      '  .:  J  n 

1st  wire.  □□□«□□□□□□■□□□□■□□!_;        B  3  □  S  3  ; 

□EBBBBLJKBBBQBEBBBBBBaKIBBBBBEaBBBBBUEBEEBaBaBBBBBBEBBBBB^l 
|1  ist  I  2nd  I  srd  I  4U1  1  tth  I  6th  I  7th  I  ath  56 
I     dent.     I     dent.      ]     dent.      I     dent.      |     dent.     I     dent.      1     dent.      |     dent.  I 


Fig.  845^. 


Wire  marked  3,  the  next  successive  wire,  calls  for  the  raising  of  warp-thread  C  (=  blank) 
for  forming  the  face  of  the  fabric. 

Warp-threads  2-C-B-A-1  are  drawn  in  one  dent  of  the  reed,  as  indicated  on  the  left-hand 
side  of  the  drawing. 

Fig.  843  illustrates  part  of  a  Brussels  carpet  design  classified  as  a  "  four-frame." 


193 

Fig.  844  furnishes  an  analysis  of  the  latter.  The  difference  in  the  construction  of  a  "four- 
frame,"  as  compared  to  a  "three-frame"  carpet,  consists  in  its  having  four  different  colored  pile 
warp-thieads,  instead  of  only  three,  as  in  the  latter,  so  that  the  figuring  possible  in  both  carpets 
is  equal  in  proportion  as  4  is  to  3. 

Having  thoroughly  described  the  method  of  constructing  the  "  three-frame  "  carpet,  the 
present  "  four-frame  "  design  will  the  more  readily  explain  itself. 

Fig.  845  a  illustrates  part  of  a  design  for  a  "  five-frame"  carpet,  which  in  Fig.  845  b  is  also 
analyzed. 

Brussels  and  Wilton  carpets  are  made  up  to  and  including  "  six-frames,"  also  "  in  part  of 
full  frames"  (after  the  "  three-frame  "),  as  may  often  be  required  in  order  to  cheapen  the  fabric. 


DOUBLE-FACED  PILE  CARPETS 

In  which  the  Pile  is  Produced  by  Inserting  a  Special  Heavy  Filling-Cord 

Instead  of  a  Wire. 

The  construction  of  these  fabrics  has  for  its  object  the  production  of  a  cheap,  strong,  firm 
and  durable  double-faced  carpet,  wherein  the  figure  at  each  side  of  the  fabric  is  derived  from 

A  ic,K\*X  AT;  AT  Kr 


Fig.  847. 


Fig.  848. 


face-warps  appearing  upon  one  and  then  upon  the  other  side  of  the  fabric  for  one  or  more 
rib-picks.  In  addition  to  the  face-warp  there  is  also  used  a  binder-warp,  usually  having  two  threads 
worsted  face-warp  alternate  with  one  end  binder-warp.  These  face  and  binder-warp-threads  are 
interlaced  into  one  fabric  by  means  of  two  kinds  of  filling,  the  interior  (heavy)  filling  and  the 
binder-filling.  The  binder-filling  at  alternate  picks  passes  above  all  the  face-warps  and  then 
below  all  the  face-warps.  The  binder-filling  is  tied  to  the  upper  and  then  to  the  lower  side  of 
the  face-warp  by  the  binder-warp,  two  picks  of  binder-filling  and  two  picks  of  stuffer  (interior, 
heavy  or  cord)  filling  being  put  in  in  succession.  The  binder-warp  is  lifted  into  the  upper  half 
of  the  shed  between  the  insertion  of  the  first  and  second  picks  of  stuffer  (cord)  filling,  the  binder- 
warp  thus  splitting  the  stuffer  or  interior  filling.  The  crossing  of  the  warp  and  filling  is  such  as 
to  enable  the  two  picks  of  interior  or  stuffer,  when  beat  up  into  the  shed,  to  lie  nearly  one  over 
the  other,  forming  ribs  opposite  each  other  at  opposite  faces  of  the  fabric. 
Fig.  846  represents  a  longitudinal  section. 

Fig.  847  is  a  diagram  representing  the  arrangement  of  the  warp  and  filling  as  they  interlace 
in  the  fabric. 


194 


Fig.  848  illustrates  part  of  a  design  (face  and  back)  corresponding  to  diagram  Fig.  847. 

The  threads  shown  in  Figs.  846  and  847  are  separated  for  a  clearer  understanding  of  their 
working ;  but  in  the  actual  fabric  they  are  beat  closely  together  by  the  reed  and  appear  somewhat 
similar  to  those  illustrated  in  part  of  a  design  (effect)  Fig.  848. 

MetJwd  of  Operation. 

These  carpets  are  produced  on  an  ordinary  two-box  Jacquard  loom  with  the  addition  of  front- 
harness.  For  the  binder-warps  an  independent  harness  or  set  of  harness  is  provided,  being 
operated  through  a  cam  on  the  picker  shaft.  The  sheds  for  the  binder-filling  are  formed  by  the 
binder-warps  on  the  one  hand  and  by  all  the  face  or  body-warps  on  the  other  hand.  The  face- 
warps  (indicated  by  Letters  E,  E ',  G,  G'  in  Figs.  846  and  847),  which  are  generally  of  worsted  and 
of  different  colors,  and  dyed  or  printed  according  to  the  colors  and  patterns  it  is  desired  that  the 
carpet  shall  show,  will  be  operated  on  by  a  Jacquard  machine  of  the  usual  construction,  so  as  to 
split  the  face-warps  at  suitable  intervals  to  form  sheds  for  the  introduction  of  the  stuffer  or 
interior  filling  (indicated  by  letters  E,  A',  in  Figs.  846  and  847)  carried  by  a  shuttle.  The  face 
warp-threads  uppermost  or  at  one  side  of  the  fabric  remain  at  that  side  of  the  fabric  for  as  many 
picks  as  desired,  and  then  are  carried  to  the  other  side  of  the  fabric. 

The  binder-warps  (indicated  by  letter  d  in  Figs.  846  and  847)  are  carried  by  one  or  two 
harness  frames  and  are  distributed  at  suitable  intervals  between  the  face-warps.  They  are 
arranged  so  as  to  appear  at  both  sides  or  face  of  the  fabric  between  each  two  picks  of  interior 
(or  stuffer)  filling. 

Method  of  Successive  Interlacing  of  the  Warps  and  Fillings. 

Examining  Figs.  846  and  847  from  the  right  to  the  left,  it  appears  that  pick  1  has  all  the 
face-warp  down  and  the  binder-warp  raised,  thus  forming  a  shed  between  all  of  the  face-warp 
and  binder-warp  to  receive  a  pick  of  binder  filling. 

Pick  2 — the  second  binder-pick — has  all  the  face-warp  raised  and  all  the  binder-warp 
lowered. 

Pick  3  has  one-half  of  the  face-warps  raised,  which  with  the  binder-warp  then  down,  forms 
a  shed  for  receiving  the  first  stuffer  or  interior  filling. 

Pick  4  has  one-half  of  the  face-warp  and  the  binder-warp  in  the  upper  part  of  the  shed,  and 
the  other  half  of  the  face-warp  in  the  lower  part.  (This  pick  is  not  illustrated  in  Fig.  847,  it  being 
opposite  to  pick  3.) 

This  operation  is  repeated  until  such  time  as  it  is  desired  that  the  face-warp  uppermost  in 
the  last  shed  to  receive  the  stuffer  or  interior  filling  shall  be  made  to  appear  at  the  opposite  side 
of  the  fabric.  When  it  is  desired  to  make  the  warp  upon  one  face  of  the  fabric  show  for  one 
or  more  sheds  upon  the  opposite  face  of  the  fabric,  these  face-warp-threads  are  themselves  bodily 
carried,  as  indicated  at  the  line  Fy  from  the  upper  to  the  lower  part  of  the  shed. 

DOUBLE-PILE  FABRICS. 

Principles  of  Construction  of  the  Plain  "  Double  Plush." 

The  end  to  be  gained  in  the  manufacture  ot  warp  pile  fabrics  of  the 
present  division  is,  the  production  of  two  single  velvet  (or  similar)  fabrics 
with  one  operation  of  the  loom.    In  the  manufacture  of  double  plush  the 
1  *" 'm  wires  so  conspicuously  referred  to  in  speaking  of  warp  pile  fabrics,  are 

omitted.    The  pile-warp-threads,  after  interlacing  into  the  " body  structure" 
ig.  849.  Qne  singie  fabrics,  pass  across  to  the  "  body  structure  "  of  the 

other  fabric,  where  in  turn  they  are  interlaced  before  returning  to  the  fabric  from  which  they 


195 


started.  Constantly  exchanging  pile-warp-threads  from  one  cloth  to  the  other  forms  the  principle 
of  double-pile  weaving,  and  is  illustrated  in  diagram  Fig.  849  by  a.  After  combining  the 
pile  of  a  two-ply  fabric  in  the  manner  previously  explained,  its  pile-warp-threads,  running 
across  the  centre  or  interior  of  the  fabric,  are  cut  automatically  by  means  of  an  attachment  on 
the  loom  known  as  the  "  cutting  knife"  The  variously  constructed  knives  in  practical  use,  as 
well  as  the  methods  of  their  operation,  are  treated  later  on. 

Methods  in  Use  for  Interlacing  the  Pile-warp  in  Doable-plush  Fabrics. 

Various  methods  for  exchanging  the  pile-warp  in  weaving  "  double  plush,"  as  also  the  different 
ways  of  interlacing  (or  fastening)  these  pile  warp-threads  to  the  ground-cloth  of  each  fabric,  are 
in  practical  use.    An  explanation  of  a  few  of  these  is  given,  whereby  a  pretty  clear  conception 


Fig.  850. 

may  be  had  of  the  method  of  interlacing  double  plush.  Diagram  Fig.  850  illustrates  the  section 
of  a  double-plush  fabric.  In  this,  four  distinct  warp-threads  are  visible,  and  are  indicated  by  the 
numbers  1,  2,  3  and  4.  These  four  warp-threads  and  the  sixteen  sections  of  the  filling  illustrate 
one  repeat  of  the  arrangement  of  the  warp  and  filling,  as  well  as  the  method  of  intersecting 
both,  systems,  technically  known  as  their  weave.  Line  A  to  B  in  the  diagram  indicates  the  direc- 
tion for  cutting  the  pile-warp. 

In  diagram  Fig.  85 1,  another  method  for  forming  double  plush  is  shown.  The  diagram 
illustrates  the  section  from  a  specimen  fabric. 

In  this,  two  distinct  sets  of  warp-threads  (shown  by  dotted  lines)  form  the  body  structure  for 
each  individual  single  "  plush  fabric,"  while  the  pile  is  produced  by  a  separate  set  of  warp-threads 
which  alternately  interlace  into  one  and  then  the  other  body-structure.  The  body-warp  for  the 
upper  fabric  is  indicated  by  letters  A  and  B,  and  that  for  the  lower  by  D  and  E.  Line  F  to  G 
shows  the  course  through  which  the  pile  is  cut  to  produce  the  two  separate  plush  fabrics. 

M 

u 

12  12  3  £ 

r      ■  ) 

□□m~!— .r>  \  Picks  for  the  top  fabric. 
Iin  TM—i ) 
S:  ST   } 

HjOeOg-2  [  Picks  for  the  bottom  fabric. 

(1  denotes  face  fabric,  2  bottom 
fabric,  3  pile-warp.) 

Fig.  851a. 

An  analysis  of  the  section  shown  in  Fig.  851  gives  as  follows:  Picks  1,  2  and  3  for  the 
lower  fabric  and  picks  4,  5  and  6  for  the  upper  fabric. 

Fig.  851^  is  a  plan  of  the  method  of  interlacing,  technically  known  as  the  "weave." 
2  harnesses  are  required  for  the  body-warp  of  the  upper  fabric ;  2  harnesses  for  the  body-warp  of 
the  lower  fabric  and  1  harness  for  carrying  the  pile-warp;  thus  5-harness  in  repeat.  In  reeding 
the  warp  five  threads  must  be  put  in  one  dent. 

To  produce  a  well  covered  full  face  in  the  fabric,  two  kinds  of  ground  or  body-warp  must 
be  used.  One  kind  for  threads  working  as  shown  by  warp-threads  A  and  E,  or  tighter  than  the 
other  body-warp,  or  threads  working  the  same  as  warp-threads  B  and  D,  which  operate  with  less 
tension  ;  hence  two  beams  are  necessary  for  the  body  or  ground-warp,  with  one  beam  for  carrying 
the  pile-threads. 


Fig.  851. 


196 


The  adjusting,  or  u  setting"  of  the  harness  is  such  that  when  the  loom  is  at  rest  the  set  of 
warp-threads  for  the  upper  section  of  the  fabric  is  in  a  sufficiently  elevated  position  as  compared 
to  those  for  the  lower  cloth.  The  method  of  operation  for  the  harness  is  such  that  for  the  picks 
of  the  upper  cloth  harnesses  are  lowered,  and  for  picks  for  the  lower  fabrics  harnesses  are 
raised.  This  method  of  weaving  double  plush  only  requires  one  shuttle,  and  the  weaving  is  per- 
formed the  same  as  ordinary  weaving. 


<D  O 
~Z  *- 

ad cdi 2 i 2 

■  .  iaa 

[  »'  5    Baa  ! 

t !  ■  aa  ,  ) 

■  aa 
l  ■        a  a 

s  s  ■  aa  .  j 
■aa  i 

[  ■  i  .  aa 

■  a  a 

i  s  \  .  i 
f    ■  a  a  i 

■  .aa 
i  ■       a  a 

h  ■  aa  i 

M! !  aaa  ; 

iGUMnauaa 

1  8 

Fig.  852. 


HnBonncoHaBtxnnn 
aaa  a  .a  ■■ 

a  ■  a  „■ 
aaaaa  :  aaaaaa  jb 
□  :  .  a  a  a  ■  ; 
a  aaaaa  a  anaaa  j 
a  a  i  i  a  a  1 
a  a  aaaaa  a  aaaa 
a  a  a  a  ] 
aa  aa  aaaa  aa  aa 

a  a  :  .  a  a  1 
aaaaa  a  aaaaa  a  i 


m. 


iaa  a  a  .aaaa  a 
1  .  a  .  a  ..  1.  i;j 
laaaaa  aaaaa 

a  a  : 
.a  aaaaa  a  aa 
a  a  a  a 
1a  aaaaaa  1  a 
a  a  a  ■  i 
iaaa  a  aaaaa 

a  a  'ji  1  i 
aaaaa  a1  aaaa 


iaaa  aa  aaaa1  a 
a  .  :  a  a  l 
■aaaaa  aaaaa 


FIG.  852^. 


□HGH 
□G[  JH 

^a  1  a  i 
a  a  i 
1  a  a 


Fig.  852a. 


[  :a  .a  •  a  .a 
[      aa        .aa  : 

aa.-;  aa  i;  .-j 
a  a  i  '  a  a 

[     iaa:-.  .■:  aa.-; 


i.jg  a  ■ 


Fig.  852^. 


on  :hbddh 
aa  □■  '■; 
mi  aa  aa 
□a  aa 
aa: :  □■  j 
aa:-:  aa  i 
i  aa  aa 
i  aa  aa 
aa  ma  : 
am  am 
[■:  an  ma 
:  aa  aa 
aa  rm  j 
aa:-.  aa  •:  1 


Fig.  852^. 


•x»A. 

-s- 


d.<  t. 


m 


LO^TQOX^OWDTCiBSn 

»A. 


oo:qo:qo;od:qo:qo]qo 


Fig.  8526. 


The  arranging  of  three  successive  picks  alternately  for  each  fabric  is  of  no  disadvantage  to 
either  structure.  Each  plush  fabric  will  show  the  same  smooth  surface  after  cutting.  Diagram 
Fig.  800,  on  page  170,  in  the  chapter  on  the  construction  of  single  plush  and  velvet  fabrics 
represents  the  section  for  each  separate  single  cloth  of  the  double  plush  illustrated  in  Fig.  851. 

Fig.  852  illustrates  another  plan  for  weaving  double  plush.  In  this  instance  a  double  shuttle 
loom  is  used  (cam-loom  principle),  using  each  shuttle  for  interweaving  in  the  one  system  of  the 
structure.  Consequently  two  sheds  must  be  formed  at  one  operation  of  the  loom,  which  is  effected 
by  using  for  the  pile-warp  "Cams"  which  are  capable  of  holding  the  harness  frames  in  three 


197 


different  positions,  "  the  bottom,"  "  the  centre,"  or  "  the  top  "  part  of  the  complete  double  shed. 
It  will  be  readily  understood  that  "  the  centre  "  refers  to  the  upper  division  of  the  lower  shed,  as 
well  as  the  bottom  division  of  the  upper  shed. 

In  Fig.  852  the  first  4  harnesses,  for  future  reference  indicated  by  letters  a,  b,  c  and  d,  repre- 
sent the  pile.  In  the  same  the  ■  type  indicates  the  raising  of  a  harness  in  the  top  division  of  the 
upper  shed  or  "  the  top,"  the  a  type  indicates  the  placing  of  the  harness  for  forming  "  the  centre  " 
(being  also  the  temporary  "  shuttle-race"  for  the  shuttle  interlacing  the  upper  ground  fabric). 
This  position  is  also  technically  known  as  "  dwelling."  The  □  type  indicates  the  lowering  of  the 
harness  for  forming  "  the  bottom  "  of  the  lower  shed  in  the  loom.  The  rear  4  harnesses  indicate 
the  working  of  the  ground  warp.  Harnesses  indicated  by  1  form  the  one  body-structure, 
while  the  harnesses  indicated  by  2  form  the  other  body-structure.  Each  set  of  the  ground- 
harnesses  (1,  1  and  2,  2)  is  placed  by  a  respectively  high  or  low  strapping  into  its  proper 
position  for  guiding  either  the  ground  or  body  warp  of  the  upper  or  lower  ground-cloth. 
The  drafting  for  the  present  weave  is  1  end  ground- warp  for  the  top  cloth,  1  end  ground-warp  for 
the  lower  cloth,  2  ends  pile-warp,  thus  4  threads  in  one  repeat. 

Fig.  852*2  illustrates  the  separate  weave  for  interlacing  each  body-structure,  being  the  com- 
mon (2-harness,  4  picks)  rib-weave,  or  the  common  plain  two  picks  in  a  shed. 

In  Fig.  852^,  six  respective  diagrams  are  given  for  illustrating  the  compound  weave 
Fig.  852.  Diagram  indicated  by  a  represents  the  section  of  the  corresponding  pile  warp- 
thread  a  in  the  weave  ;  diagram  I?  shows  the  section  of  pile  warp-thread  b  in  the  weave ;  diagram 
c  illustrates  the  section  of  pile  warp-thread  c  in  the  weave,  and  diagram  d  refers  to  pile  warp- 
thread  d  in  the  weave.  The  ground  or  body-warp  working  close  by  the  pile-warp  is  shown  by 
the  dotted  lines  in  each  diagram.  Letter  A,  in  all  the  diagrams  shown  under  Fig.  852  b,  indicates 
the  upper  fabric  and  letter  B  the  bottom  fabric.  Horizontal  line  c  to  f  indicates  the  direction  for 
cutting  the  pile  as  performed  afterwards.  In  diagram  s  of  Fig.  85 2$,  the  complete  interlacing  of 
all  the  four  pile-threads  in  a  fabric  is  shown.  In  the  same,  ground-warps  (as  previously  shown)  are 
omitted  so  as  to  give  a  clearer  understanding  of  the  subject.  Letters  of  reference  are  also 
selected  to  correspond  with  the  previously  explained  diagrams  a,  b,  c  and  d,  as  well  as  to  diagram 
which  illustrates  the  section  of  the  four  pile  warp-threads  when  cut  (ground-warp  again  omitted). 

In  Fig.  8$2c,  a  separate  analysis  of  one  fabric  from  the  double  structure  is  given,  showing 
4  pile  and  2  body  warp-threads  and  8  picks  for  its  repeat.  Warp-threads  1  and  4  for  body, 
warp-threads  2,  3,  5  and  6  for  pile,  h  shows  the  raising  of  the  body-warp  ,  □  shows  the  lowering 
of  the  body-warp  ;  ■  shows  the  raising  of  the  pile-warp  ;  m  shows  the  lowering  of  the  pile-warp 
for  two  picks  down  so  as  to  interlace  with  the  body-structure  by  means  of  raising  in  both  adja- 
cent picks  ;  a  shows  the  lowering  of  pile-warp  for  four  picks  so  as  to  form  the  pile  by  means  of 
interlacing  with  the  mated  body-structure  (not  shown). 

Fig.  8$2d  shows  the  complete  analysis  executed  in  the  regular  double-cloth  principle,  ordin- 
ary weaving,  one  shuttle  work ;  thus  only  raisers  or  sinkers  and  no  centre  or  "  dwell,"  and  hence 
8  warp-threads  and  16  picks.  Warp-threads  I,  2,  5  and  6  are  for  the  body-warp  and  the  warp- 
threads  3,4,  7  and  8  for  the  pile-warp. 

In  Fig.  852^,  a  special  plan  illustrating  the  working  of  the  pile-warps,  as  previously  explained, 
is  given.  □  and  ■  show  the  interlacing  in  fabric  1  or  A.  a  and  a  show  the  interlacing  in  fabric 
2  or  B. 

Methods  of  Operation  in  Use  for  Producing  Double-Pile  Fabrics  and  the  Different 

Systems  of  Cutting  the  Pile-Threads. 

As  mentioned  at  the  beginning  of  the  present  chapter  on  double-pile  fabrics,  both  single- 
cloth  fabrics  after  being  woven  on  the  double-cloth  system  must  be  separated,  or  the  pile  cut  in 
the  centre  of  the  float  from  the  one  body-structure  to  the  other.    Two  methods  are  in  practical 


198 


use  for  cutting  this  pile.    First,  the  pile-warp  is  cut  automatically  on  the  loom  on  which  it  is 

jf     c  woven,  and  second,  the  pile-warp  is  cut  after  the  fabric  has  left  the  loom. 

.z>  ^M^*^"^"  The  first  method  is  the  one  most  generally  adopted,  and  the  illustrations 
v~  and  explanations  of  some  of  the  processes  most  frequently  used  are  given. 

Fig.  853.  Diagrams  853,  854,  855,  856,  857  and  858  illustrate  C.  R.  Garratt's  inven- 

tion as  to  the  mechanism  for  cutting  double-pile  fabrics. 

Fig.  853  illustrates  at  M the  section  of  the  double-pile  fabric,  at  D  the  section  of  the  cutting 
knife,  liberating  with  it  both  separate  pile-cloths  as  shown  at  N  N. 

Fig.  854  illustrates  a  plan-view  of  part  of  a  loom  having  the  before-mentioned  arrangement 
attached. 

Fig.  855  is  a  front  elevation,  with  the  bracket,  which  supports  the  operating  shaft  as  well  as 
this  shaft  and  its  driving-pulley  and  bevel-gear,  removed. 

Fig.  856  is  a  plan-view  of  the  knife,  showing  the  manner  in  which  the  cords  are  attached. 

Fig.  857  is  the  side-view  of  a  loom  (of  a  different  make  than  the  one  before)  which  has  the 
cutting  arrangement  attached. 


The  letters  used  for  indicating  the  different  parts  in  these  five  diagrams  are  identical.  An 
examination  of  the  same  gives  us  as  follows : 
A  illustrating  the  framework  of  a  loom. 

B  representing  the  mainshaft,  journaled  in  the  framework,  and  provided  with  a  driving 
pulley. 

C  is  a  cross-piece  located  at  the  front  of  the  loom,  provided  with  a  groove  extending  across 
the  loom,  in  which  the  knife  D  reciprocates.  The  main  portion  of  the  cutting-edge  of  this 
knife  is  straight,  but  the  ends,  or  corners,  are  rounded,  so  that  the  knife  will  cut  equally  well 
when  moving  in  either  direction,  while  the  straight  cutting  edge  between  the  rounded  corners  is 
adapted  for  cutting  the  pile  in  a  smooth  and  effectual  manner  through  very  short  reciprocating 
movements  of  the  knife.    At  the  opposite  ends  of  the  knife  cords  are  attached,  which  pass  over 

pulleys  ./7.    One  of  these  cords  is  attached  to  a  spring  G,   

which  is  secured  to  the  floor.    The  other  cord  or  wire  is 

attached  to  a  lever,  which  is  pivoted  in  a  bracket  secured  to  ^  ^ — lj — L— 
the  framework.    This  lever  can  be  arranged  to  vibrate  either  Fig.  856. 

by  means  of  a  cam  or  crank. 

In  the  present  illustration  the  first  mentioned  arrangement  is  used.  The  acting  of  the  cam 
upon  the  lever  H  forces  the  latter  outward,  and  consequently  forces  the  knife  to  the  extreme 
right  of  the  groove  against  the  power  of  the  spring  G.  The  action  of  the  spring  as  it  contracts 
is  to  draw  the  knife  to  the  extreme  left  of  the  groove,  and  at  the  same  time  to  draw  the  lever 
inward. 


199 


Fig.  853,  as  previously  alluded  to,  illustrates  at  N  the  two  separate  single  pile  fabrics.  In 
diagram  Fig.  857,  the  method  of  "  taking  up  "  these  fabrics  without  injuring  the  pile  is  shown. 
After  drawing  the  fabrics  over  the  edges  of  the  "  breastbeam  "  of  the  loom,  they  are  guided  over 
two  "  take-up  rollers,"  Xy  opposite  each  other,  which  have  a  roughened  surface,  and  by  which  the 
fabrics  are  held  taught  and  drawn  backward  from  the  knife,  so  that  the  centres  of  the  uncut  pile 
will  be  evenly  presented  for  the  cutting.  After  passing  the  "  take-up  "  rollers  Nt  the  fabrics  fall 
into  the  cloth-box  5. 

This  method  of  keeping  the  fabric  loose,  and  not  tightly  wound  around  its  "  take-up  "  or 
cloth  beam  as  in  common  weaving,  preserves  the  beauty  of  the  pile.  The  previously  explained 
method  of  operating  the  cutting  knife  may  also  be  changed  so  as  to  have  it  operated  on  by  the 
lay.  This  principle  is  illustrated  in  diagram  Fig.  858.  In  this,  the  one  cord  (formerly  con- 
nected to  a  lever)  is  shown  attached  to  the  lathe  O  of  the  loom.  This  lathe  is  operated  in  any 
ordinary  manner,  so  that  the  knife  will  be  reciprocated  in  its  guiding-groove  at  each  throw  of  the. 
lathe. 


Fig.  857.  Fig.  859  a.    Fig.  859  £. 


Another  kind  of  "  cutting  knife  "  is  shown  in  Figs.  859^  and  859^.  Fig.  859^  illustrates 
the  plan-view,  and  Fig.  859^  the  section.  In  operating  this  "cutting  knife"  the  long  teeth 
enter  between  the  two  pieces  of  cloth  while  the  lateral  movement  of  the  top  blade  cuts  the 
pile-threads.  In  the  diagram  blade  A,  shown  shaded,  is  the  movable  blade,  and  is  situated  upon 
B,  the  fixed  blade  which  is  shown  in  outline. 

Figs.  860,  861,  862,  863  and  864  illustrate  a  mechanism  for  severing  double-pile  fabrics  in 
the  loom  in  which  it  is  woven,  as  invented  by  A.  Bacon. 

Fig.  860  is  the  side-view  of  a  loom  necessary  to  illustrate  the  construction  and  mode  of 
application  of  the  attachment  for  severing  the  double-pile  fabric  produced  on  the  loom. 

Fig.  861  is  a  front-view  of  the  same  loom  and  the  cutting  device,  with  the  sharpener  for  the 
cutting  knife  removed. 

Fig.  862  is  a  plan-view  of  the  same  loom  and  the  cutting  device. 

Fig.  863  illustrates  a  perspective  view  of  the  cutting  device ;  the  sharpening  attachment  for 
the  knife  is  illustrated  separately,  in  front,  and  detached  from  its  supports,  so  as  to  give  a  clearer 
understanding  of  the  main  features  of  the  device. 

Fig.  864  is  a  transverse  section  (enlarged)  on  the  line  1,  2,  in  Fig.  862. 


200 


The  letters  indicating  the  different  parts  of  the  cutting  device,  as  well  as  the  loom,  are 
identical.    The  following  description  will  readily  show  the  manner  in  which  the  cutting  device 

is  attached  to  the  loom.  Also  the  method  of  opera- 
tion of  the  former,  with  a  general  description  of  its 
construction. 

(This  device,  as  claimed  by  the  inventor,  can 
also  be  adjusted  to  any  other  kind  of  loom  with  a 
few  appropriate  changes,  such  as  may  be  required 
by  the  style  of  loom  to  be  adjusted.) 

Parallel  with  the  breastbeam  of  the  loom  (see 
A  in  drawings)  and  a  short  distance  in  front  of  it  is 
a  bar  B,  which  is  carried  by  projecting  brackets  Xf 
and  forms  a  guide  for  a  slide  D,  the  latter  carrying 
a  stud,  on  which  is  free  to  turn  a  spur-wheel  a,  to 
the  upper  face  of  which  is  secured  a  circular  cutter 
F.  This  spur-wheel  engages  with  a  rack  b,  which 
is  secured  to  the  upper  face  of  the  guide-bar  B,  so 
that  as  the  slide  D  is  caused  to  reciprocate  trans- 
versely in  the  guide  a  rapid  rotary  motion,  first  in 
one  direction  and  then  in  the  opposite  direction, 
will  be  imparted  to  the  cutting-disk  F.  One  end 
of  the  slide  D  is  connected  to  one  end  of  a  belt  G, 
which  passes  around  pulleys  d,  supported  on  the 
frame  of  the  loom.  The  opposite  end  of  this  belt  is 
connected  to  a  stud /,  projecting  from  one  of  the  links  of  a  chain-belt  H,  adapted  to  sprocket-wheels 
^mounted  upon  studs  g2,  secured  to  and  projecting  from  the  loom-frame.  A  similar  belt  G,  passing 


Fig.  860. 


Fig.  861. 


around  like  pulleys  d,  serves  to  connect  the  opposite  end  of  the  slide  D  to  the  stud  /,  so  that 
when  Rotary  motion  is  imparted  to  the  sprocket-wheels  /  the  stud  /,  traveling  with  the  belt  Ht 


201 


will,  through  the  medium  of  the  belts  £,  impart  a  transverse  reciprocating  movement  to  the  slide 
Dy  and  thus  cause  the  cutter  F  to  pass  to  and  fro  through  the  web  of  fabric,  so  as  to  cut  the  pile- 
threads  and  separate  the  compound  fabric  into  two  single  fabrics,  each  having  a  cut-pile  surface. 

In  order  to  insure  uniform  cutting  of  the  pile,  the  movement  of  the  slide  and  its  cutter  must 
be  smooth  and  steady,  as  any  jarring  or  jerking  of  the  slide  or  cutter  causes  irregularity  in  the 


Fig.  862. 


cut  and  unevenness  in  the  length  of  pile  on  the  fabrics  produced.  This  smooth  and  steady  move- 
ment is  secured  by  means  of  the  driving  mechanism  shown  ;  there  is  a  gradual  dimunition  in  the 
speed  of  the  slide  at  and  near  each  end  of  its  traverse  and  a  gradual  acceleration  of  speed  as  it 
starts  on  the  return  movement. 

Rolls  f  /,  between  which  projects  the  cutting  edge  of  the  knife  F}  are  acted  upon  so  as  to 
press  the  rolls  J  J  toward  each  other  and  into  contact  with  the  opposite  sides  of  the  knife. 


Fig.  863.  Fig.  864. 


The  rolls  /  are  coated  with  abrading  material,  and  extend  throughout  the  traverse  of 
the  knife,  so  that  the  cutting-edge  of  the  latter  is  at  all  times  under  the  sharpening  influence  of 
the  rolls,  and  a  keen  edge  is  thereby  maintained.  (This  cutting  device  can  also  be  used,  applied 
to  a  machine  for  cutting  double  pile  fabrics  after  the  woven  cloth  has  left  the  loom,  instead  of 
being  used  directly  in  connection  with  the  loom  in  which  the  fabric  is  woven.) 


202 


Drawings  Figs.  865,  866,  867,  868,  869,  870,  871,  872  and  873,  represent  C.  Pearson's  inven- 
tion for  cutting  on  the  loom  double  pile  velvets  and  similar  pile  fabrics  during  the  weaving 
process. 

The  invention  of  the  present  system  for  separating  the  double  pile  fabric  into  two  separate 
single  pile  fabrics,  consists  in  employing  two  pile-severing  knives,  which  are  caused  to  travel 
laterally,  each  a  distance  only  half  the  width  of  the  fabric,  in  a  transverse  guide-plate  or  race. 

The  letters  of  reference  in  the  drawings  denote  like  parts  in  the  several  views  given. 


Fig.  865. 


Fig.  865  represents  a  side  elevation  of  part  of  a  loom  for  weaving  double  pile  fabrics.  The 
drawing  also  illustrates  one  of  the  "  knife  carriages  "  with  its  actuating  mechanism,  and  part  of 
the  sharpening  mechanism  adjacent  to  it  with  a  part  of  its  actuating  mechanism.  Fig.  866  is  a 
front  view  of  part  of  the  loom.  Fig.  867  illustrates  a  transverse  vertical  section  of  the  grooved 
race-bar ;  also  one  of  the  cutting-knives  mounted  in  its  carriage,  and  one  set  of  the  sharpening- 
rollers  with  its  frame  or  "  housing." 


Fig.  866.  Fig.  867. 


Fig.  868  is,  partly,  a  sectional  front-view  of  a  pair  of  the  sharpening-rollers  mounted  in  their 
frame  with  a  portion  of  the  velvet  rail  or  cutting  bar. 

Fig.  869  is  a  top-view  of  the  transversely  grooved  guide-plate  or  race-bar  in  which  the 
knife-carriages  are  reciprocated,  and  the  parallel  supporting-bar  in  which  the  fabric  is  cut  by  the 
laterally-traveling  knives. 

Fig.  870  is  an  enlarged  view  of  the  parts  at  one  end  of  Fig.  869,  showing  the  transversely 
grooved  race-bar,  a  knife-carriage  with  its  knife,  and  the  stopping  mechanism  in  the  race-bar. 


203 


Fig.  871  is  a  cross-section  view  of  the  velvet  delivery  rollers,  one  of  the  pile  severing  knives, 
and  the  supporting  bars,  showing  the  relative  position  of  these  several  parts. 

Fig.  872  is  a  transverse  section  of  the  inside  of  that  part  of  the  loom  shown  in  Fig.  865  from 
the  outside. 

Fig.  873  is  a  transverse  sectional  view  of  the  loom,  showing  the  location  and  arrangement 
of  the  crank-shaft  and  connecting-gear,  one  of  the  pulley-wheels,  and  the  sharpening  mechanism 
with  its  actuating  mechanism  for  one  of  the  knives. 


Fig.  870. 


The  method  of  operation  and  principle  of  construction  of  the  cutting-device  is  illustrated  by 
•drawings  Figs.  865  to  873  inclusive. 

By  means  of  the  double  cam  C,  operating  the  rack-bar  and  cog-gearing,  alternate  partial 
revolutions  in  each  direction  are  given  to  the  pulley-wheel  F,  to  which  are  secured  two  cords  or 
bands,  the  other  end  of  each  of  which  is  attached  to  the  "  knife-carriage,"  one  cord  on  one  side 
and  one  on  the  other  side  thereof,  so  as,  by  the  alternate  partial  revolutions  of  the  pulley-wheel  in 


Fig.  871.  Fig.  872. 


opposite  directions,  to  pull  the  carriage  backward  and  forward  transversely  along  the  grooved 
guide-plate  or  race  of  the  loom.  A  similar  set  of  cords  and  a  knife-carriage  are  provided  for 
each  side  of  the  loom,  both  knife-carriages  moving  in  the  same  guide-plate  alternately,  each  only 
about  half  the  distance  across,  and  each  alternating  in  its  lateral  travel  from  side  to  centre  of  the 
race-plate. 

Transversely  across  the  frame  of  the  loom  are  arranged  two  bars  or  rails,  R  and  S,  their 
relative  positions  being  as  shown  in  Fig.  869,  the  former  being  merely  a  bar  or  rail  supporting 


204 


the  double  pile  fabric  while  it  is  being  severed  in  two  through  the  pile  by  the  laterally-moving 
cutting-knives.  Bar  R  is  recessed  near  each  of  its  ends  (see  Figs.  868  and  869)  to  admit  of  the 
insertion  and  support  therein  of  the  housings  for  the  sharpening-rollers,  and  so  that  the  upper  and 
lower  sharpening-rollers  shall  come  alternately  in  contact  with  the  upper  and  lower  sides,  res- 
pectively, of  the  knife-blade,  as  shown  in  Fig.  867. 

The  bar  5  is  a  grooved  transverse  guide-plate  recessed  at  each  of  its  ends,  to  hold  two  sets 
of  friction-rollers,  over  which  the  knife-actuating  cords  pass  to  the  corresponding  pulley-wheel  F> 
and  having  one  wide  groove  its  entire  length,  serving  as  a  race  for  the  knife-carriages  T  T.  At 
the  bottom  of  this  groove  are  two  smaller  parallel  grooves,  extending  to  the  recesses  at  each  end 
of  the  plate,  and  within  which  the  knife-cords  are  moved.  Two  cross-bars,  I  and  2,  are  secured 
to  the  bar  5  at  each  end,  supporting  a  guide-rod,  6,  having  an  enlarged  inner  end,  which  serves 
as  a  stopper  for  the  knife-carriage,  and  upon  the  rod  6  are  placed  two  pieces  of  india-rubber 
tubing,  4  and  5,  and  between  them  a  metal  band,  3,  which  may  be  slipped  along  the  rod  against 


Fig.  873.  Fig.  874. 


the  tubing  and  fastened  tight  at  any  point  thereon  by  a  set-screw.  By  this  arrangement  the 
rubber  tubing  acts  as  an  elastic  cushion  for  the  stopper-rod  and  in  turn  for  the  knife-carriage. 
The  movable  metal  band  also  permits  of  lateral  adjustment  of  the  stopper-rod,  thereby  producing 
a  variation  in  the  resistance  encountered  by  the  knife-carriage.  This  mechanism  is  shown  in 
detail  in  Figs.  869  and  870,  the  latter  showing  only  one  end  of  the  bar  S,  the  other  end  containing 
similar  mechanism  for  the  other  knife-carriage. 

The  knife  Ky  to  cut  the  connecting  pile  latterly  between  the  two  backings,  is  secured  in  a 
holder,  K' y  mounted  in  a  carriage,  Tt  moving  laterally  in  the  large  groove  of  the  race-bar  »S 
backward  and  forward  half  the  length  of  the  bar,  from  about  its  centre  to  its  either  end,  by  means 
of  the  pulley  and  cords  before  mentioned.  The  end  of  the  knife-holder  K'  swings  upon  a  cross- 
bar, passing  through  it  and  having  its  bearings  in  the  carriage  T.  A  spring  is  coiled  around  this 
cross-bar  on  either  side,  with  its  ends  fastened  to  the  carriage,  so  that  the  tendency  is  to  press  the 
knife-blade  down  upon  the  supporting-bar  R,  or  upon  the  velvet  resting  thereon,  and  cause  the 
knife  to  travel  in  its  reciprocating  motion  in  a  straight  line  and  cut  the  pile  evenly. 


205 


Each  knife-carriage  is  provided  with  two  pulley-cords — fastened  one  at  each  end  thereof,  one 
cord  passing  from  the  right-hand  carriage  over  the  friction  roller  at  that  end  of  the  bar  5  to  and 
partially  around  the  pulley-wheel  F  in  one  direction,  and  has  its  end  knotted  in  the  periphery 
thereof.  The  other  cord,  fastened  to  the  other  end  of  the  knife-carriage,  passes  along  one  of  the 
small  grooves  in  the  bar  5  to  the  other  or  left-hand  end  thereof,  where  it  passes  over  a  similar 
friction-roller  and  back  under  the  bar  5  to  another  friction-roller,  7,  and  thence  to  and  partially 
around  the  pulley-wheel  Fy  (in  an  opposite  direction  from  the  other  cord)  to  which  it  is  fastened. 
A  like  set  of  cords  are  arranged  for  the  other  or  left-hand  knife-carriage.  This  arrangement 
causes  the  knife-carriages  to  be  moved  backward  and  forward  in  the  carriage-race  when  and  as 
the  pulley-wheels  wind  up  either  cord  successively ;  the  wheels  being  turned  by  means  of  the 
mechanism  operated  by  the  cam  C. 

Upper  and  lower  velvet-rollers  L' L' ',  Fig.  871,  suitably  mounted  in  the  frame  of  the  loom,  take 
up  the  two  pieces  of  pile  fabric  cut  apart  through  the  connecting  pile  by  the  laterally- reciprocating 
knives  K}  and  draw  forward  the  uncut  double  pile  fabric  to  the  traveling  knives  as  it  is  deliv- 
ered over  and  upon  the  velvet-rail  or  cutting-bar  R.  These  rollers  L'L'  are  geared  together  and 
actuated  by  a  worm,  to  which  motion  is  communicated  from  the  picking  shaft,  or  any  other  suit- 
able actuating  mechanism. 

Machine  for  Cutting  Double  Pile  Fabrics  After  Leaving  the  Loom. 

As  previously  mentioned  in  the  chapter  on  double  pile  fabrics,  in  some  instances  the  separat- 
ing of  both  pile  cloths  is  not  done  in  the  loom  during  the  process  of  weaving,  but  a  separate 
machine  is  necessary  for  cutting  the  fabric  afterwards.  In  using  such  a  cutting  device  for  separa- 
ting both  cloths  the  former  must  produce  a»suitable  feeding  and  tension  upon  the  fabric  during 
the  operation  so  as  to  divide  the  pile-threads  midway  between  the  two  "body-structures"  (backs). 
As  the  length  of  pile  in  any  such  fabric  is  not  always  uniform,  it  is  difficult  to  maintain  the 
cutting  line  midway  between  the  webs,  and  in  order  to  avoid  the  risk  of  cutting  into  the  fabrics  at 
places  where  the  weaving  is  irregular  it  is  necessary  to  use  a  longer  pile  than  would  otherwise 
be  required,  thus  consuming  more  material  than  is  needed  for  the  finished  fabric,  and  also  requir- 
ing the  divided  fabric  to  be  "shorn"  (afterward)  to  a  greater  extent  than  would  otherwise  be 
necessary. 

An  invention,  lately  patented  by  J.  A.  Campbell  of  Philadelphia,  is  designed  to  obviate  these 
difficulties  by  making  the  straining-bars,  over  which  the  newly-divided  fabrics  are  drawn,  self- 
adjusting  and  self-centering,  so  that,  whether  the  original  double  pile  fabric  be  thick  or  thin,  the 
dividing-line  shall  always  be  midway  between  the  two  fabrics. 

Diagram  Fig.  874  is  a  side-view  of  that  portion  of  a  machine  which  has  this  improvement 
attached. 

The  method  of  operation  is  made  fully  comprehensible  by  the  following  explanations  given 
with  reference  to  the  letters  used  in  the  diagram. 

At  h  is  shown  the  double  pile  fabric  passing  in  between  the  plates  Bf  B2,  and  at  g  is  shown 
a  section  of  the  dividing-knife,  while  at  i  and  k  are  shown  the  divided  fabrics  passing  off. 

The  operation  of  the  device  is  as  follows  :  The  uncut  fabric,  being  drawn  in  at  h  by  the 
action  of  any  suitable  feeding  mechanism,  passes  between  the  plates  or  jaws  B'  B2,  and  is 
divided  by  the  knife  g,  after  which  the  divided  fabrics  pass  off  at  i  and  k,  being  drawn  taut  by 
suitable  winding  mechanism.  The  springs  c  c,  being  adjusted  to  a  proper  tension  by  the  thumb- 
nuts  d  d,  tend  to  draw  the  jaws  or  plates  B'  B2  together,  and  so  the  fabric  which  is  being  divided 
is  held  firmly  between  the  said  jaws  Bf  B2  during  the  operation  of  cutting.  The  divided  fabrics 
*  and  k,  being  drawn  taut,  tend  to  draw  the  jaws  B'  B2  apart ;  but  this  tendency  is  resisted  by  the 
springs  c  c.    As  the  toothed  segments  C  C2  are  firmly  fastened  to  the  jaws  B'  B2,  it  follows 


206 


that  any  motion  of  the  jaw  B'  will  be  communicated  to  the  toothed  segment  C ',  and  from  thence 
through  the  toothed  segment  C2  to  the  jaw  B2,  and  so  any  motion  of  the  jaw  B' ,  to  or  from  the 
cutting-line,  will  be  accompanied  by  a  corresponding  motion  of  the  jaw  B2.  If,  from  any  irregu- 
larity in  weaving,  the  two  fabrics  of  the  double  pile  fabrics  are  closer  together  or  farther  apart  at 
various  points  than  the  normal  distance,  the  jaws  B'B2  will  press  together  or  be  forced  apart,  but 
always  to  an  equal  extent,  and  hence  the  two  webs  will  always  be  kept  at  an  equal  distance  from 
the  cutting-line,  no  matter  how  irregular  their  distance  from  each  other  may  be. 

Weaving  Two,  Three  or  more  Narrow  Widths  or  Pieces  of  Double  Pile  Fabrics  at  once. 

The  weaving  of  two  or  more  narrow  widths  of  double  pile  fabrics,  side  by  side,  in  a  broad 
loom,  also  requires  the  production  of  fast  selvages  for  each  special  narrow  width.  For  this  pur- 
pose we  must  form  two  adjacent  selvages  with  fast  edges  at  any  desired  part  of  the  width,  both  of 
the  upper  and  lower  cloths  of  the  double  pile  fabric,  as  also  selvages  in  the  upper  cloth  imme- 
diately above  the  selvages  in  the  lower  cloth.  To  form  a  fast  edge  to  each  inner  selvage,  a  warp 
binding-thread  to  cross  with  the  outermost  warp  of  the  selvage  and  becoming  knit  together 
therewith  must  be  employed.  Any  desired  number  of  fast  inner  selvages  may  be  formed  in  this 
way  in  the  width,  so  that  the  fabric  may  be  divided  into  widths  of  any  required  size  by  cutting 


Fig.  877. 

both  the  upper  and  lower  cloths  lengthwise  between  the  pairs  of  fast  selvage  edges,  which  have 
been  made  in  these  cloths. 

The  construction  of  such  "  fast ,?  selvages,  properly  belonging  to  the  division  on  gauze  or 
cross-weaving,  will  be  explained  later  on. 

Diagram  Fig.  875  illustrates  a  perspective  view  of  a  short  length  of  a  double  pile  fabric 
woven  face  to  face,  with  fast  inner  selvages. 

Diagram  Fig.  876  shows  a  perspective  view  of  one-half  of  this  fabric  when  the  pile  has  been 
severed  and  the  upper  cloth  separated  from  the  lower  cloth. 

Diagram  Fig.  877  shows  two  separated  pieces,  obtained  by  dividing  the  fabric  shown  at 
diagram  876  longitudinally  between  the  fast  selvages  which  are  formed  in  it.  In  these  diagrams  U 
is  the  upper  cloth,  L  is  the  lower  and  P  is  the  pile. 

The  two  parallel  lines  55,  which  run  lengthwise  of  each  cloth,  represent  the  fast  edges  of  the 
inner  selvages. 

Let-off  Mechanism  for  the  Pile  Warp  for  Weaving  Double  Pile  Fabrics. 

In  double  velvet  weaving  there  is  one  great  difficulty  to  contend  with,  namely,  to  keep  the 
two  pieces  of  cloth  an  equal  distance  apart.  To  do  this  a  regular  supplying,  guiding  and  deliver- 
ing of  pile-warp  is  required,  otherwise  any  additional  strains  would  draw  the  two  pieces  nearer 
together,  and  the  pile  would  be  irregular. 


207 


Diagrams  Figs.  878^,  878^  and  879  illustrate  the  arrangement  for  effecting  the  letting-off, 
supporting,  guiding  and  delivering  of  the  pile-warp,  and  represent  C.  Pearson's  Patent. 

Fig.  878a:  illustrates  a  side  elevation  of  that  part  of  a  loom  containing  the  necessary 
mechanism  as  mentioned. 

Fig.  878/7  is  a  detached  view  of  some  of  the  parts  and  taken  from  Fig.  878*7. 

Fig.  879  is  a  diagram  showing  the  arrangement  and  position  of  the  several  rollers  and  parts 
constituting  this  mechanism. 

The  letters  indicating  the  different  parts  in  this  mechanism  are  as  follows :  A  represents  the 
frame  of  a  loom.  G  and  H  are  the  beams  containing  the  pile-warp.  The  latter  threads  are 
delivered  from  these  to  a  guide-roller  R,  secured  in  the  frame  of  the  loom,  and  thence  to  a  pair  of 
metal  rollers,  C  C,  turned  perfectly  true  and  covered  with  cloth,  plush,  or  other  like  rough-surface 
material,  in  order  to  create  friction  between  the  surface  of  the  roller  and  the  warp-threads.  These 
rollers  are  mounted  upon  shafts  having  bearings  in  a  bracket  bolted  to  the  frame  of  the  loom. 
They  are  independently  rotated  toward  each  other  with  unvarying  uniformity  and  precision  by 
means  of  worm-wheels  d  d  on  the  axes  thereof,  which  engage  with  two  screws,  F Ff  one  for  each 


roller,  one  being  a  left-hand  screw  and  the  other  a  right-hand  screw,  on  a  horizontal  shaft,  Ey 
which  has  its  bearings  in  brackets  XX,  also  secured  to  the  side  of  the  frame  A.  One  end  of 
this  shaft  E  is  provided  with  a  beveled  gear-wheel,  which  engages  with  a  similar  beveled  gear-wheel 
on  the  end  of  the  picking-shaft  D,  and  is  thus  continuously  driven.  The  other  end  of  shaft  E  bears 
against  a  rod,  L>  in  the  bracket  Xy  provided  with  jam-nuts,  in  order  thereby  to  secure  desired 
pressure  against  the  shaft  and  its  actuating-wheel,  more  especially  when  actuated  by  friction  as  a 
substitute  for  the  gear-wheels  shown.  The  pile  warp-threads  are  delivered  directly  from  the  guide- 
roller  R  to  one  of  the  metal  rollers  C,  and  under  and  around  the  same,  and  from  thence  in  like 
manner  under  and  around  the  other  roller,  C,  these  rollers  rotating  toward  each  other,  and  from 
the  last-mentioned  roller  C  the  pile-warp  is  carried  to  a  second  guide-roller,  S,  supported  horizon- 
tally in  the  framed,  and  is  from  thence  taken  up  by  vertical  rods  Y,  held  up  by  pull-springs  Wy 
to  support  the  warp  in  its  passage  to  the  heddles,  and  to  create  the  necessary  tension  thereon  to 
hold  the  same  taut. 

Carrying  the  pile  warp-threads  to  a  point  over  the  main  rollers  C  the  loose  waste  driven  off 
by  the  operation  will  drop  onto  the  warp  after  passing  the  second  roller,  C,  injuring  the  pile-warp 
and  clogging  the  mechanism.    To  prevent  this,  a  shield,  T,  is  arranged  over  the  second  roller,  C, 


208 


consisting  of  a  flat  tin  or  other  suitable  plate  extending  from  side  to  side  of  the  loom  and  secured 
to  its  frame. 

Another  arrangement  for  delivering  the  pile  warp  in  looms  for  weaving  double  pile  fabrics  has 
been  lately  invented  by  Mr.  Fred.  Pearson.  This  invention  consists  of  a  mechanism  for  the  proper 
feeding  of  the  pile  warp  into  the  harness,  and  is  placed  in  such  a  position  in  the  loom  as  to  pre- 
vent any  fibres  or  other  substances,  which  may  be  freed  from  the  warp  yarn  as  it  passes  over  the 
mechanism  (friction  rollers),  from  falling  into  the  latter,  and  thus  injuring  the  warp-yarn  as  well  as 
clogging  the  mechanism.  Another  advantage  Mr.  Pearson  assigns  to  his  invention  is  the  means 
provided  by  which  this  feeding  mechanism  can  be  easily  thrown  out  of  action,  so  as  to  allow 
the  weaving  of  the  ordinary  close-stitched  double-cloth  required  for  the  weaving  of  a  proper 
heading  at  the  beginning  and  ending  of  each  cut.  The  mechanism  is  also  arranged  to  permit  a 
quick  and  correct  changing  of  the  amount  of  pile  warp  to  be  delivered,  as  regulated  by  the  height 
of  pile  required  for  the  fabrics  woven,  by  substituting  a  smaller  or  larger  worm-wheel  upon  the 
axle  of  the  main  roll. 

Diagrams  Figs.  880  and  881  illustrate  this  mechanism. 

Fig.  880  is  a  side  elevation  of  the  rear  part  of  a  loom  or  attachment  to  a  common  cam- 
loom,  and  embodying  Mr.  Pearson's  invention. 

Fig.  881  is  a  sectional  elevation,  showing  the  delivering  of  pile  warps  (from  two  beams)  and 


the  direction  of  the  running  off  of  the  ground  warps  (from  one  beam).  The  respective  parts  with 
the  letters  of  references  given  (the  same  for  both  Figs.)  will  in  a  great  measure  explain  the 
modus  operandi. 

A  represents  the  beam  for  the  ground-warps;  B  and  C,  the  beams  for  the  pile  warps ;  E  and 
H,  the  guide-rollers;  .Fand  G}  the  main  or  friction-rollers,  whose  axes  are  mounted  in  open 
bearings  in  an  adjustable  bracket  Ny  attached  to  and  mounted  upon  the  main  frame  of  the  loom. 

The  axis  of  the  lower  friction-roller  is  provided  at  one  end  with  a  worm-wheel  which  gears 
into  a  worm  P  on  one  end  of  a  horizontal  shaft,  which  is  driven  by  gear  wheels  R  and  5.  Upon 
the  opposite  ends  of  the  axes  of  the  friction-rolls  are  mounted  gear  wheels  V  X,  which  gear  into 
each  other.   J  represents  the  harness  frames. 

An  examination  of  Fig.  881,  with  regard  to  the  direction  of  running  the  pile  warps  and 
ground  warps  of  the  fabric,  gives  us  as  follows : 

The  pile  warp-threads,  upon  the  beams  B  and  Cy  are,  together,  carried  over  the  guide  roll  Et 
under  and  around  the  main  roll  Ff  and  around  the  main  roll  G,  under  the  guide- roll  H,  and  over 
the  horizontal  yielding,  or  spring-supported  rods  /  contained  in  the  vertical  guides  Ky  and  are 
thence  run  to  the  heddles.  The  ground  warp-threads  upon  beam  A  are  carried  over  supporting 
or  guide-rollers  a  b  to  the  harness-frames. 

At  the  beginning  of  the  description  of  this  invention  we  mentioned  that  a  part  of  the  claim 
was  based  upon  allowing  a  quick  changing  from  pile  weaving  to  a  weaving  of  regular  close- 


209 

stitched  double-cloth  used  as  headings  for  the  fabrics.  This  is  accomplished  by  shifting  lever  T 
to  the  right  (7.  e.,  towards  the  rear  of  the  loom),  thus  elevating  friction-roller  F  and  its  worm- 
wheel,  carrying  the  latter  out  of  contact  or  gear  with  the  worm  Pt  whereby  the  revolution  of  the 
main  rollers  .Fand  G  will  be  discontinued  and  the  feeding  of  pile  warp-threads  to  the  heddles 
will  be  stopped. 

Another  method  for  arranging  the  beams  for  pile  warps  and  ground  warps  in  the  loom  in 
weaving  double  plush  is  that  used  by  Mr.  R.  H.  Patton.  In  looms  of  his  construction  the  beam 
carrying  the  ground  warp  is  situated  in  the  rear  part  of  the  frame,  as  built  in  addition  to  his 
regular  cam  loom  for  operating  the  harness.  The  beams  carrying  the  pile  warps  rest  in  the 
upper  middle  part  of  said  frame.  To  give  a  clearer  understanding  diagram  Fig.  882  has  been 
designed.  In  this  A  indicates  the  side  of  the  frame  previously  alluded  to,  B  the  beam  carrying 
the  ground  warp,  and  C  and  D  the  beams  for  both  sets  of  pile  warps.  In  the  present  style  of 
arranging  the  beams  for  the  pile  warp  and  guiding  those  warps  in  their  run  to  the  delivering 


Fig.  882. 


rollers  H  G,  and  from  there  to  the  respective  harness,  one  great  advantage  over  that  of  the  pre- 
viously shown  methods  will  be  readily  noticed,  u  c,  that  the  pile  warps  are  delivered  to  their 
respective  heddles  without  crossing  the  ground  system,  and  consequently  any  possible  chafing  is 
avoided.  The  ground  warp  for  the  upper  cloth  in  the  loom  passes  from  the  warp  beam  B  over 
stationary  guide-roller  E  towards  the  harness  frames;  this  set  of  threads  being  indicated  by  letter 
a.  The  other  set  of  ground  warps  required  for  the  lower  cloth  passes  from  beam  B  below  guide 
roll  F  and  from  there  direct  to  the  respective  harness  frames.  This  set  of  ground  or  body  warp 
has  been  indicated  by  the  letter  d.  The  two  sets  of  pile  warp,  one  from  beam  C  and  one  from 
beam  D,  are  guided  from  their  respective  beams  into  the  delivering  rollers  G  and  H.  The  lower 
roller  (H)  is  covered  with  a  fine  sand-paper,  while  the  one  above  is  covered  with  a  plush  fabric. 
After  leaving  the  delivering  rollers  one  set  of  the  pile  threads  is  passed  over  guide-roll  J  and 
below  guide-roller  L,  and  the  other  set  below  guide-roller  K.  Each  of  these  two  guide-rollers  is 
adjusted  to  a  lever  which  is  on  one  extreme  end  connected  with  the  loom  frame  and  on  the  oppo- 
site end  has  adjusted  a  spring  which  is  fastened  to  the  floor.    These  springs  will  greatly  assist  in 


210 


easing  up  the  "beating  home"  of  the  pile  warp.  The  let-off  of  the  pile  warp  is  regulated  by 
sproked  gears  adjustable  to  the  axis  of  the  delivering  roller  H  and  gets  the  motion  from  the 
""take-up"  by  means  of  a  chain  belt.  The  present  method  of  delivering  pile  warps  allows  the 
harness  in  the  front  part  of  the  loom  to  be  arranged  for  an  extremely  high  pile,  i.  e.,  the  keeping 
of  the  two  sets  of  ground  warp — ground  cloth — as  far  apart  as  possible. 

The  bracket  for  holding  guide-roller  F  can  also  be  applied  to  the  centre  standard  of 
the  frame. 

Double  Pile  Fabrics  Made  with  a  Proportionally  Higher  Pile. 

In  some  double  pile  fabrics  a  greater  length  of  pile  may  be  required  than  the  one  which  can 
be  produced  on  a  common  loom.  To  overcome  this  difficulty  James,  Fred,  and  George  Priestley 
have  lately  invented  an  improvement  on  the  lay,  suitable  to  be  adopted  for  any  loom.  To  secure  a 
proportionally  higher  pile  their  patent  advises  the  cutting  away  of  a  large  portion  of  the  solid  part  of 
the  lay  and  inserting  small  steel  plates  set  upon  edge.  Each  plate  reaches  across  the  cut-out  part 
of  the  lay,  and  the  tops  of  all  the  steel  plates  are  in  a  line  and  carry  the  shuttle  when  in  operation. 
The  warp-threads  of  the  bottom  fabric  drop  into  the  spaces  between  the  steel  plates  and  are  well 
out  of  the  way  of  the  shuttle  when  the  top  or  upper  fabric  is  being  woven,  and  at  the  same  time 
the  pile-threads  are  kept  tight  and  at  full  stretch  between  the  two  fabrics. 


fTTTTTTTTM  I  I  I  I  I  I  I  I  I  I  II  I  I  I 


Fig.  8S3^. 


<  mum  ? 

Fig.  883*:. 


Fig.  883a. 


Diagram  Fig.  883*2  illustrates  the  sectional  side-elevation  of  a  portion  of  the  lay  of  a  common 
loom  which  is  fitted  up  with  such  steel  plates. 

Fig.  883^  represents  an  elevation  of  the  latter,  and  Fig.  883^  illustrates  a  plan  of  a  portion  of 
the  same. 

Figured  Double  Pile  Fabrics. 

Double  pile  fabrics  are  also  produced  by  means  of  the  Jacquard  machine.  Various  methods 
of  operation  as  well  as  different  makes  of  looms  exist  for  effecting  this  process. 

Diagrams  Figs.  884  to  891  illustrate  a  specimen  of  such  a  loom  and  the  method  of 
operation  for  weaving  figured  double  pile  fabrics,  which  was  invented  and  patented  by  T.  J. 
Shuttleworth. 

The  said  diagrams  illustrate  a  loom  for  weaving  figured  double  pile  fabrics  for  operating  the 
pile-threads  whereby  on  the  rise  of  the  Jacquard  lifter-board  any  desired  pile-thread  may  be  drawn 
down  from  the  upper  warp  into  the  lower  fabric  or  drawn  up  from  the  lower  warp  into  the  upper 
fabric,  so  as  to  produce  two  fabrics  having  a  corresponding  figure. 

In  diagrams  Figs.  884,  885  and  886  the  method  of  interlacing  the  two  fabrics  is  clearly 
demonstrated. 

Fig.  887  represents  a  loom  showing  sufficient  to  give  one  a  proper  understanding. 


211 


Figs.  888  and  889  are  diagrams  illustrating  the  operation  of  the  heddles  controlling  the 
ground  warp-threads. 

Figs.  890  and  891  illustrate  the  operation  of  the  heddles  controlling  the  pile  warp-threads. 
Each  of  the  fabrics  has  a  number  of  pile-warps  (indicated  x)  and  two  sets  of  ground  backing  threads 
(see  y),  the  number  of  pile- warps  depending  upon  the  number  of  colors  in  the  pattern  to  be 
produced. 

The  operation  of  weaving  the  fabric  will  be  understood  upon  reference  to  Figs.  884,  885  and 
886.  In  Fig.  884  the  threads  are  represented  as  they  appear  after  the  figuring  pile-warps  have 
been  drawn  from  the  upper  to  the  lower  and  the  lower  to  the  upper  fabric  and  bound  in  by  picks  1, 
all  of  the  upper  pile-warps  being  then  elevated  and  the  lower  pile-warps  depressed  and  the  ground 
or  backing  warps  of  each  fabric  crossed,  so  as  to  form  upper  and  lower  sheds  for  the  insertion  of 


Fig.  836.  Fig.  887. 


the  binder  picks  2,  which  are  thrown  in  and  beaten  up  and  the  ground-warps  of  each  fabric  then 
again  crossed,  as  shown  in  Fig.  885,  to  form  sheds  for  the  binder  picks  3,  and  after  throwing  in 
these  picks  the  ground-warps  of  each  fabric  are  again  crossed  to  form  upper  and  lower  sheds,  all 
of  the  upper  pile-warps  except  those  for  the  figure  being  lowered  to  the  level  of  the  bottom  of  the 
upper  shed,  and  all  of  the  lower  pile-warps  except  those  for  the  figure  being  raised  to  the  level  of 
the  top  of  the  lower  shed,  as  shown  in  Fig.  886. 

Such  of  the  upper  pile-warps  as  are  necessary  to  form  the  figure  are  drawn  down  into  the 
lower  shed;  and  such  of  the  lower  pile-warps  as  the  figure  demands  are  lifted  into  the  upper  shed, 
as  shown  in  Fig.  886,  preparatory  to  throwing  in  the  binder  picks  which  confine  said  figuring 
pile-threads  on  the  backs  of  the  fabric ;  the  operations  being  then  repeated.  As  shown  in  the 
drawings,  accompanying  these  explanations,  such  of  the  pile-warps  as  are  necessary  to  form  the 


212 


figures  are  drawn  across  from  one  fabric  to  the  other  on  every  third  pick ;  but,  if  desired,  only- 
one  binder  pick  may  be  put  in  on  the  face  of  the  fabric  between  successive  tufts  of  the  pile.  The 
mechanism  for  effecting  the  movements  of  the  threads  which  we  described,  is  shown  in  Fig.  887. 
The  heddles  which  control  the  ground  warp -threads  have  double  eyes,  as  shown  in  Figs.  888  and 
889.  The  threads  of  the  upper  fabric  pass  through  the  upper  eyes  of  the  heddles,  and  the 
threads  of  the  lower  fabric  through  the  lower  eyes,  these  eyes  being  so  related  and  the  lift  of  the 
heddles  being  such  as  to  effect  the  proper  formation  of  the  upper  and  lower  sheds.  Each  of  the 
pile-warps  is  controlled  by  a  harness  thread  connected  to  one  of  the  needles  of  the  Jacquard, 
(see  Figs.  890  and  891)  and  passing  through  the  usual  notched  eye  in  the  lifter  board,  above  the 
Jacquard  needles,  each  harness-thread  having  a  knot  above  the  lifter-board,  so  that  when  the 
thread  is  adjusted  by  the  needle  to  bring  this  knot  over  a  notch  of  the  board,  this  knot  and  that 


Fig.  890.  Fig.  891. 


portion  of  the  thread  in  which  it  is  formed  will  be  lifted  by  the  board  as  it  rises,  there  being  no 
lift  of  those  threads  the  knots  of  which  remain  in  line  with  the  eyes  of  the  lifter-board. 

The  movement  of  the  entire  body  of  warps,  except  those  necessary  to  form  the  figure,  is 
effected  by  comber-boards  g  and  h,  Figs.  890  and  891,  the  upper  of  which,  in  the  present  instance, 
acts  upon  knots  upon  the  harness-threads  of  the  pile-warps  of  the  lower  fabric,  while  the  lower 
board  acts  upon  knots  upon  the  harness-threads  of  the  pile-warps  of  the  upper  fabric,  and  these 
boards  are  caused  to  move  toward  and  apart  from  each  other,  so  that  on  the  rise  of  the  upper 
board,  g,  all  of  the  pile-warps  of  the  lower  fabric,  except  the  figure-warps,  will  be  lifted  from  the 
position  shown  in  Figs.  884  and  885  to  that  shown  in  Fig.  886,  the  descent  of  the  lower  board,  h, 
causing  the  corresponding  pile-warps  of  the  upper  fabric  to  drop  to  the  same  extent.  The 
comber-boards  remain  separated  while  the  binding-shots  1  are  being  thrown  in,  after  which  they 
are  drawn  together,  so  as  to  restore  the  warps  under  their  control  to  the  positions  shown  in  Figs. 
884  and  885. 

Such  of  the  pile- warps  as  are  desired  to  form  the  figure  are  by  means  of  the  Jacquard  brought 


213 


under  control  of  the  lifter-board,  which  has  a  movement  in  excess  of  that  imparted  to  the  comber- 
boards,  so  that  the  figuring  pile-warps  will  be  carried  up  or  down  into  the  opposite  fabric. 

The  figuring-threads  of  the  lower  pile-warp  are  simply  elevated  by  the  action  of  the  lifter- 
board  as  the  latter  rises  in  the  usual  manner;  but  it  is  necessary  to  transform  this  rising  move- 
ment of  the  lifter-board  into  a  downward  movement  of  the  figuring-threads  of  the  upper  pile- 
warp;  hence  each  of  the  harness-threads  of  the  upper  pile-warps  must  be  passed  around  a  pulley 
or  other  bearing  so  as  to  double  it  back  upon  itself,  pass  it  again  through  the  eye  of  the  lifter- 
board,  and  connect  it  at  the  lower  end  to  a  strip  ;//,  Figs.  890  and  891,  of  rubber  or  other  elastic 
material,  secured  to  the  guide-board  n  below  the  Jacquard  apparatus.  The  lifter-board  acts  upon 
a  knot  on  this  returned  portion  of  the  harness-thread,  so  that  the  lift  of  the  board  serves  to  stretch 
the  spring  and  permit  the  drop  of  the  weighted  portion  of  the  harness-thread  which  controls  the 


c 

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M 

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a. 

P 

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ex. 

if 

II 

II 

II 

II 

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-h 

1 

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J 

J 

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J 

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1A.1B.  £A.*B.3A.  3B.  H\.  HI.  5A.5B.  6A.6B.  7A.1B.  &A.8B- 


Fig.  892. 


-warp-thread,  this  warp-thread  being  lifted  on  the  descent  of  the  board  by  reason  of  the  contraction 
of  the  spring  my  which  exerts  a  force  considerably  in  excess  of  the  weight. 

The  lifter-board  of  the  Jacquard  is  operated  by  a  cam  on  a  shaft,  the  cam  acting  on  a  slide 
which  is  connected  by  a  rod  to  a  lever  connected  to  the  lifter-board  by  a  rod. 

The  comber-boards  are  operated  by  another  cam  on  the  shaft  mentioned  before,  this  cam 
acting  on  a  slide  which  is  connected  by  a  rod  to  a  lever,  and  by  another  rod  to  an  arm;  the  lever 
before  mentioned  being  connected  by  a  rod  to  the  upper  comber-board,  and  the  arm  also  previ- 
ously mentioned  is  connected  by  a  rod  to  the  lower  comber-board,  so  that  the  desired  movements 
of  both  comber-boards  towards  and  from  each  other  are  effected. 

The  principle  thus  far  explained  of  weaving  these  double  pile  fabrics  can  also  be  used  in 
connection  with  a  Jacquard  apparatus  in  which  griffe-bars  are  used  in  place  of  an  eyed  and  notched 
lifter-board,  and  hooks  are  used  instead  of  knots  in  the  harness. 


214 


Figured  Double  Plush  Produced  upon  a  Jacquard  Machine  Containing  a  Stationary  and  a 
Raising  " Griff e"  and  also  a  Lowering  {Falling)  "Grate"  or  "  Rcster" 

Mr.  T.  Halton  has  lately  applied  for  a  patent  for  a  Jacquard  machine  for  weaving  "figured 
double  pile  fabrics"  which  is  very  simple  and  effective  in  its  method  of  construction.  This 
machine  resembles  to  a  certain  extent  a  double-lift  double-cylinder  Jacquard  machine  used  in 
weaving  damasks,  dress-goods,  etc.  This  new  Jacquard  machine  has  also  two  sets  of  griffe-bars 
(similar  to  the  double-lift  double-cylinder),  but  only  one  set  raises  while  the  other  remains 


Fig.  893^.  Fig.  893^.  Fig.  893  C 


stationary.  The  "  grate  "  or  "  rester  "  for  the  hooks  in  the  new  machine  is  arranged  to  lower 
simultaneously  when  the  previously  mentioned  griffe  raises,  and  again  raises  to  its  starting-point 
as  soon  as  the  griffe  lowers  to  its  point  of  starting.  The  cylinders  of  the  Jacquard  machine  for 
weaving  figured  double  pile  fabrics  are  operated  on  at  the  same  time,  while  the  cylinders  of  the 
Jacquard  machine,  known  as  "  double-lift  double-cylinders,"  are  operated  on  alternately. 

To  give  a  clearer  illustration  of  the  construction  of  the  machine,  Fig.  892  has  been  designed. 
It  represents  the  section  of  a  four-hundred  Jacquard  machine  for  weaving  figured  double  pile 
fabrics. 


215 


At  the  point  indicated  by  A,  one  vertical  row  of  one  set  of  needles  is  shown  (E  —  needle 
board,  D  =  spring  box).  At  B  one  vertical  row  of  the  second  set  of  needles  is  shown  (C  = 
needle  board,  F  =  spring  box). 

a  represents  sections  of  stationary  griffe-bars  (shown  shaded) ;  represents  sections  of 
raising  griffe-bars  (shown  in  black) ;  H  represents  sections  of  the  grate  or  rester  (for  holding  the 
hooks  in  the  required  position  and  also  for  guiding  the  latter  in  their  lowering,  if  not  called  for  by 
either  one  of  the  griffe-bars). 

Hooks  i  A  and  I  B  have  their  neck-cords  connected  to  the  same  leash.  (Also  2  A  and  2  B ; 
3  A  and  3  B  ;  4  A  and  4  B,  etc.) 

Figs.  893  A,  B,  C,  D  and  E  illustrate 
the  modus  operandi  of  the  machine  and  its 
harness.  Two  hooks,  operating  the  same 
warp-threads,  are  used  for  illustrating  the 
principle.  Letters  of  reference  indicate 
like  parts  in  each  diagram. 

g-l  and  h-m  are  the  previously  men- 
tioned two  hooks ;  e-f  the  needle  for  oper- 
ating the  hook  g-l;  c-d  the  needle  for 
operating  the  hook  h-m;  a  is  the  station- 
ary griffe-bar ;  b  is  the  raising  griffe-bar; 
l-n  and  m-n  are  the  neck-cords ;  p  is  the 
heddle  eye ;  r  and  s  the  double  shed  re- 
quired ;  q  the  lingo,  and  o  the  last  woven 
part  of  the  fabric. 

Diagram  Fig.  893^  shows  the  hooks 
at  rest;  or  in  a  position  similar  to  that  in 
Fig.  892  (the  complete  section  of  a  400- 
machine) ;  thus  the  warps  will  rest  in  the 
loom  in  the  position  shown  by  the  fall 
line  o-p-t,  or  in  the  centre. 

Diagrams  Fig.  893  B  and  C  illustrate 
the  raising  of  a  warp-thread  in  the  upper 
section  of  the  top  shed  (r).  (See  full  line 
o-p-i)  In  diagram  893Z?  this  is  accom- 
plished by  punching  a  hole  in  the  cards 
for  needle  c,  and  none  in  the  other  card  at 
the  place  where  needle  e  strikes.  Conse- 
quently hook  h-m,  not  operated  on  by  its 
needle  (hole  in  card),  will  be  caught  by 
the  ascending  griffe  b,  and  in  turn  raise 
the  warp-threads  by  means  of  the  harness 
cord  in  the  upper  section  of  the  top  shed  (f).  (See  full  line  o-p-t.)  The  hook  g-l,  which  is 
thrown  backwards  by  reason  of  its  mate  needle  e  having  no  hole  cut  in  the  card,  is  thus  placed 
out  of  reach  of  the  stationary  griffe-bar  and  descends  with  the  lowering  of  the  rester  i  until  it 
reaches  the  base,  as  shown  in  the  present  diagram.  This,  consequently,  will  have  no  effect  upon 
the  warp-thread,  and  nothing  else  will  be  produced  but  the  slackening  of  the  corresponding 
neckcord  l-n,  as  represented  in  the  diagram. 

In  diagram  Fig.  893  C  the  same  effect  (as  in  Fig.  893^)  for  the  warp-thread  (or  its  raising  into 
the  upper  section  of  the  top  shed  is  produced  by  having  two  holes  cut  for  both  needles  (for  needle  e 


Fig.  893 D. 


Fig.  893^. 


216 


in  the  card  of  the  other  set).  Cutting  a  hole  for  needle  e  will  leave  hook  g-l  in  its  vertical  posi- 
tion and  the  crook  of  the  hook  will  be  caught  by  the  stationary  griffe,  which  will  hold  it  during 
the  downward  movement  of  the  rester.  The  movement  of  hook  h-m  and  its  result  upon  the 
corresponding  warp-threads  being  the  same  as  in  the  previously  explained  diagram,  the  only 
difference  between  adopting  either  plan  B  or  C,  is  the  lesser  amount  of  slackening  of  the  neck- 
cord  l-n  which  is  out  of  action  in  using  the  plan  as  illustrated  by  diagram  C. 

Diagram  893Z)  shows  the  warp-thread  in  the  lower  section  of  the  bottom  shed  s.  (See  full 
line  o-p-l)  This  movement  is  accomplished  by  cutting  no  hole  for  either  needle  in  its  correspond- 
ing place  in  the  card,  consequently  throwing  off  each  hook  from  either  griffe,  which  will  result 
in  the  lowering  of  both  hooks  by  means  of  rester  bars  i  and  k. 

Diagram  Fig.  893^  shows  the  method  of  operation  necessary  if  a  warp-thread  is  required 
to  remain  in  the  centre,  thus  forming  the  bottom  of  the  upper  shed  r  and  the  top  of  the  lower  shed  s. 
In  this  case  no  hole  must  be  cut  in  the  card  for  needle  c,  and  a  hole  in  the  card  from  the  other  set 
for  needle  e  to  penetrate.  Hook  g-l  will  thus  remain  over  the  stationary  griffe-bar  (a)  while  the 
mate  hook  h-m  has  its  crook  thrown  out  of  reach  of  the  raising  griffe  b,  and  consequently  descends 
with  the  lowering  of  the  rester. 

TERRY  PILE  FABRICS 

In  which  the  Pile  is  Produced  During  Weaving  Without  the  Aid  of  Wires. 

Pile  fabrics  in  which  the  pile-threads  are  raised  without  the  aid  of  wires  are  fabrics  known  as 
"Turkish  toweling"  and  certain  kinds  of  scarfs  used  for  ornamentation  on  chairs,  bureaus,  etc. 
In  the  manufacture  of  these  fabrics  two  (or  more)  warp-beams  are  required — one  to  carry  the 
"pile- warp"  for  the  formation  of  the  loop  and  the  other  to  carry  the  "ground-warp"  for  forming 
the  body  of  the  fabric. 

Method  of  Operation  for  Producing  the  "Loop"  or  "Terry"  Pile. 

In  the  process  of  weaving  a  terry  fabric  the  upper  or  terry  series  of  warps  is  weighted  lighter 
than  the  lower  or  body  series,  for  the  purpose  of  allowing  the  loops  to  be  formed  on  the  surface 
by  the  lay  swinging  or  being  driven  fully  up  to  the  body  already  manufactured  after  several  or 
one  or  two  picks  of  the  filling  have  been  shot  from  the  shuttle  and  but  partially  beaten  up,  those 
picks  having  in  the  meantime  so  tightened  upon  the  upper  or  "terry"  warps  that  the  latter  are 
forced  with  them  by  the  full  beat  fully  up,  and  thereby  forming  the  pile  loops  or  terry. 


Fig.  894a.  Fig.  8946. 


The  three  (or  more)  picks  so  interwoven  will  have  slid  on  the  ground-warp,  which  remains 
tight  during  the  entire  process  of  weaving. 

To  illustrate  the  method  of  operation  more  clearly  Figs.  894*2  and  894^  have  been  designed. 

In  Fig.  894a  the  pick,  indicated  by  o,  represents  the  edge  of  the  cloth.  At  the  first  stroke  of 
the  lay  the  first  pick,  1,  is  not  driven  home.  At  the  second  stroke  the  second  pick,  2,  is  driven 
against  the  first  pick,  1,  and  no  further;  but  the  third  pick,  3,  is  driven  home  towards  o.  This 
pick  will  in  turn  naturally  take  picks  1  and  2  along,  pressing  them  up  against  the  finished  edge 
of  the  cloth  (<?). 

The  pile  or  "terry"  warp  will  thus  form  the  loops  s,  as  shown  in  Fig.  894^. 


217 


Fig.  895 illustrates  the  drawing-in  draft  for  the  regular  terry  cloth.  Harness  1  and  2  are 
for  the  pile,  harness  3  and  4  for  the  ground-warp.  Fig.  895^  represents  the  weave  or  harness- 
chain  for  the  above  illustrated  drawing-in  draft. 

To  give  a  more  perfect  understanding  of  the  method  of  operation  in  the  present  style  of  terry 
weaving,  Figs.  896,  897  and  898  are  designed,  illustrating  the  operation  of  a  terry  loom  patented 
by  Messrs.  Holt  &  Mellor. 

Fig.  896  is  a  cross-sectional  elevation  of  part  of  a  terry  loom  necessary  for  properly  illus- 
trating the  explanations  to  follow. 

Fig.  897  is  a  plan-view  of  the  same. 

Fig.  895a. 


Fig.  895^. 


Fig.  898  is  an  enlarged  cross-sectional  view  of  the  upper  part  of  the  lay  and  the  breastbeam. 

The  operation  is  as  follows :  When  the  cam  D  (see  Fig.  897)  does  not  raise  the  lever  E,  the 
frame  remains  lowered,  as  do  also  the  arms  Z,  and  when  the  lay  swings  toward  the  breastbeam 
the  outer  ends  of  the  arms  L  come  in  contact  with  the  inner  ends  of  the  screws  N  (see  Figs.  896 
and  897),  whereby  the  arms  L  will  be  pushed  in  the  inverse  direction  of  the  movement  of  the 
lay— that  is,  in  the  direction  of  the  arrow  b' — thereby  swinging  backward  the  reed  and  pre- 
venting it  from  driving  the  last  pick  home — that  is,  preventing  the  reed  from  driving  the  last 
pick  against  the  finished  edge  of  the  cloth ;  but  if  the  cam  D  raises  the  lever  E  the  frame  F  will 
be  moved  upward  and  the  arms  L  will  be  raised  so  that  their  shoulders  engage  with  the  face  of 


Fig.  896.  Fig.  897. 

the  lay,  and  the  free  ends  of  the  arms  L  will  be  raised  to  such  an  extent  that  they  will  pass  over 
the  beveled  ends  of  the  screws  Nt  and  the  bar  /,  or  lower  part  of  the  reed,  will  not  be  pressed  in 
the  direction  of  the  arrow  b' ',  thus  permitting  the  reed  to  drive  the  last  pick  home,  as  represented 
in  diagram  Fig.  898. 

The  loom  can  also  be  so  constructed  as  to  drive  the  second,  third,  fourth,  fifth  or  sixth  pick 
home,  as  may  be  desired,  and  according  to  the  number  of  loops  desired  in  the  fabric.  The  length 
of  the  loops  is  adjusted  by  means  of  the  screws  Nf  for  the  farther  the  screws  project  from  the 
breastbeam  the  greater  will  be  the  distance  that  the  bar  /is  swung  back,  and  thus  the  greater 
will  be  the  distance  between  the  finished  edge  of  the  cloth  and  the  first  pick. 


218 


Diagrams  Figs.  899,  900,  901  and  902  illustrate  the  principle  of  construction  and  the  opera- 
tion of  a  loom  for  weaving  terry  fabrics  patented  by  N.  A.  Woodhead. 

Fig.  899  is  an  end  or  cross-sectional  elevation  of  the  loom  with  the  movable  journal-boxes 
and  crank-shaft  thrown  fully  back,  as  when  partially  beating  up  the  filling. 

Fig.  900  is  a  cross-sectional  elevation  of  it  without  the  gear-wheels,  showing  the  journal- 
boxes  and  crank-shaft  thrown  forward  and  the  lay  forced  fully  up. 

Fig.  901  is  a  top  view.  Fig.  902  is  a  detail  view  showing  one  of  the  journal  boxes  and  part 
of  its  supporting  lever,  its  adjusting  screw,  and  the  device  for  locking  the  lever  and  box  in  a 


Fig.  899.  Fig.  900. 


forward  position  for  the  production  of  a  plain  fabric.  (Letters  indicating  the  different  parts  for 
reference  are  selected  to  correspond  in  all  four  diagrams.) 

The  method  of  operation  of  the  loom  thus  forming  the  terry  pile  is  as  follows  : 
The  crank-shaft  A  when  revolving  drives  to  and  fro  the  lay  H  by  means  of  the  rods  a,  com- 
municating with  the  cranks  b  b,  and  thus  drives  the  picks  partially  up  at  each  revolution,  when  it 
is  thrown  back,  as  illustrated  in  Fig.  899.  In  order,  however,  to  produce  the  terry  loop  the 
entire  shaft  A  is,  after  two  picks,  thrown  forward  to  a  point  where,  when  the  cranks  b  arrive  on  a 
horizontal  plane  toward  the  lay  H,  the  lay  will  be  caused  to  make  a  full  beat,  driving  the  picks 
full  up,  and  producing  the  terry  or  pile  loop. 


Fig.  901. 


The  shaft  A,  when  it  is  desired  that  the  loop  shall  be  formed  at  every  third  pick,  is  arranged 
to  revolve  by  a  proper  adjustment  of  the  gearing  three  times  while  the  cam  shaft  N  revolves 
once.  When  the  cams  h  of  the  cam-shaft  N  are  in  any  position  other  than  an  upright  position, 
the  lower  arm  E1  is  at  rest,  being  borne  down  and  held  in  that  position  by  the  weight  e.  As  a 
natural  consequence,  by  reason  of  the  pivotal  bearing  at  g}  the  knee  of  the  arms  E  E'  is  thrown 
forward,  while  the  journal  boxes  F  oi  the  shaft  A,  being  firmly  fixed  to  the  arms  E  E\  are  thrown 
back,  and  the  shaft  A,  while  revolving  in  this  position,  produces  by  means  of  the  lay  but  a  partial 
beat  of  the  picks,  one  throw  of  the  shuttle  being  made  to  each  revolution  of  the  shaft  A.  When, 


219 


however,  the  cams  h  of  the  cam-shaft  N,  by  the  revolution  of  the  shaft,  begin  to  assume  an 
upright  position,  pressing  against  the  lower  edge  of  the  arms  E  as  shown  in  the  drawings,  the 
arms  E  are  gradually  raised  until  they  assume  a  horizontal  position  and  thereby,  by  reason  of  the 
pivotal  bearing  g,  throw  the  boxes  F,  adjusted  to  the  extreme  upper  ends  of  the  arms  E  and 
containing  the  crank-shaft  A,  completely  forward.  Then  the  shaft,  revolving  to  the  proper  point, 
produces  a  full  beat  of  the  lay  and  makes  in  the  fabric  the  terry  or  pile  loop  at  the  desired 
interval. 

The  length  of  the  terry-loop  is  regulated  by  means  of  the  screw  /,  adjusted  to  the  journal 
boxes  F.  By  screwing  down  the  screw  the  terry-loop  is  shortened  by  the  shaft  A  being 
prevented  from  going  as  far  back  as  it  otherwise  would  by  reason  of  the  lower  end  of  the 
screw  coming  in  contact  with  the  loom-frame,  consequently  allowing  the  short  beats  of  the  picks 
to  be  driven  more  nearly  full  up.  When  the  screw  /  is  screwed  up,  the  arms  E  fall  fully  down 
when  released  from  the  cam  h  and  throw  the  shaft  A  full  back,  and  this  produces  an  extremely 
long  terry-loop.    By  this  means  a  terry-loop  of  any  desired  length  can  be  produced. 

When  it  is  desired  to  throw  the  terry  devices  out  of  operation  and  to  weave  a  plain  fabric, 
the  lever  5,  connecting  with  the  lug  as  shown  in  Fig.  902,  is  depressed,  the  lug  /  thereby 
engaging  the  movable  journal-box  F,  and,  preventing  the  backward  motion,  holds  it  firmly  in 
position  and  allows  of  the  lay  //"beating  full  up  at  every  revolution  of  the  shaft  A. 


Fig.  903.  Fig.  904.  Fig.  905. 


Some  "  terry  "  fabrics  require  a  combination  of  the  terry  pile  weaving  and  the  common  plain 
weaving;  both  systems  of  weaving  to  exchange  alternately  (and  sometimes  more  frequently)  in 
one  length  of  the  fabric.  For  such  fabrics  the  loom  illustrated  in  diagrams  Figs.  903,  904  and 
•905  (as  is  claimed  by  its  inventor,  C.  Strobel),  is  of  special  advantage. 

Figs.  903  and  904  represent  vertical  sections  of  the  loom ;  the  parts  being  shown  in  different 
positions. 

Fig.  905  represents  a  vertical  section  of  the  loom  in  line  x  x  Fig.  903.  The  shedding, 
picking  and  take  up  motions  are  substantially  the  same  as  are  ordinarily  used  in  looms.  (The 
letters  of  reference  in  all  these  drawings  are  identical.) 

The  crank  and  cam  shafts  A  0'  are  geared  by  gear-wheels,  each  mounted  on  shafts  and 
meshing  together,  and  are  driven  in  the  usual  way.  While  the  rollers  M  are  in  the  bottoms  of 
the  slots  in  the  links  or  levers  C  the  lay  will  travel  forward  to  a  fixed  line,  this  being  the  cloth 
making  line  of  the  fabric.  The  roller  /  on  the  gear  /  at  each  revolution  of  the  latter,  if  the 
lever  H  is  not  engaged  by  the  hook  Nf  presses  down  the  rear  end  of  the  lever  H,  causing  the 
forward  end  to  rise,  and  through  the  rod  G  and  the  arm  F  to  rock  the  shaft  D  until  the  rollers 
M  reach  the  bottoms  of  the  slots  of  the  links  C.  The  spring  P,  connected  with  the  arm  F  on 
the  rock-shaft  D,  keeps  the  rollers  M\\\  the  upper  part  of  the  slots  of  the  links  C  when  the  lever 
H  is  free  from  the  hook  iVand  is  not  acted  on  by  the  roller  /.  When  the  rollers  are  in  this 
elevated  position,  the  lay  will  not  travel  as  far  forward  as  the  cloth-forming  line,  owing  to  the 
pivots  of  the  pitmen  B  having  been  given  a  lateral  movement  toward  the  lay,  thus  shortening  the 


220 


distance  between  the  crank-shaft  and  the  lay.  It  will  be  understood  that  during  these  short 
movements  of  the  lay  the  filling  will  be  only  partially  beaten  up.  The  number  of  short  or  partial 
beats  to  each  full  beat  may  be  varied  by  changing  the  gears  /  or  O.  The  present  illustrations 
show  the  loom  arranged  so  as  to  have  two  short  strokes  to  each  long  or  full  stroke  or  beat.  At 
each  third  pick  the  lever  H  will  be  depressed  by  the  roller  J  on  the  gear  /,  causing  it  to  bring 
the  arms  E  on  the  shaft  D  to  a  horizontal  position,  thus  giving  the  pivots  of  the  pitmen  B  a 
movement  away  from  the  lay,  and  increasing  the  distance  between  the  crank-shaft  and  the  lay. 
By  this  means  the  lay  in  its  next  forward  movement  will  be  moved  forward  to  the  cloth-making 
line,  beating  home  the  previously  inserted  two  picks  and  causing  the  terry  warp-threads  to  be 
looped  or  raised  from  the  body  of  the  cloth.  The  screws  K,  passing  through  the  side  projections 
of  links  Cf  act  as  stops  for  the  roller-supporting  levers  E,  limiting  their  upward  movement,  thus 
regulating  the  length  of  the  terry-loops,  making  them  longer  or  shorter,  as  desired.  The  arms  F 
may  be  given  more  or  less  movement  by  shifting  the  pivots  or  screws,  by  which  the  connecting- 
rod  G  is  attached  to  the  arm  F  or  to  the  lever  H.    When  it  is  desired  to  do  plain  weaving,  the 


Fig.  906.  Fig.  908. 


hand-lever  £  on  the  breastbeam  is  moved  to  the  right,  causing  the  lever  Q  to  act  on  the  hook  Mt 
pressing  it  toward  the  lever  H,  when  it  will  hook  under  and  lock  the  lever  H  as  soon  as  the  lever 
is  raised  to  the  proper  height.  The  parts  will  remain  in  these  positions  until  the  hand-lever  S  is 
thrown  to  the  left,  thus  unlocking  the  lever  H  from  the  hook  Ny  when  the  loom  will  be  in  con- 
dition for  terry-weaving,  all  these  changes  being  accomplished  without  stopping  the  loom. 

Before  closing  the  chapter  on  the  construction  of  the  various  looms  for  weaving  terry  fabrics 
we  refer  to  the  patent  of  T.  A.  Brady,  it  being  a  loom  for  weaving  terry-pile  fabrics  such  as 
Turkish  towelings,  etc.,  and  in  which  there  is  a  different  throw  or  beat  of  the  lathe,  due  to  the 
shifting  of  the  boxes  or  bearings  for  the  crank-shaft  of  the  loom.  The  shifting  of  the  boxes  car- 
rying the  crank-shaft  is  effected  by  means  of  a  grooved  cam. 

Figs.  906,  907  and  908  are  drawings  illustrating  the  principle  of  this  operation. 

Fig.  906  is  a  longitudinal  section  of  parts  of  a  loom  sufficient  to  illustrate  the  present  expla- 
nations. 


221 


Figs.  907  and  908  arc  drawings  representing  enlarged  face  views  of  the  cam  by  which  the 
parts  are  operated  to  effect  the  shifting  of  the  slides  forming  the  bearings  for  the  crank- 
shaft, and  thus  regulating  the  forward  beat  (towards  the  last  woven  part  of  the  fabric)  of  the  lathe. 

The  cam  has  an  outer  flange,  h%  an  intermediate  segmental  flange,  /,  and  a  central  cam,  ///,  the 
inner  portion  of  which  is  concentric  with  the  flange  t,  so  as  to  form  an  inner  groove,  while  the 
outer  portion  of  the  cam  is  such  as  to  direct  the  roller  on  the  stud  of  an  arm  fastened  on  the 
loom  into  a  groove,/,  formed  between  the  flange  i  and  the  outer  flange  h. 

Pivoted  toes  s  and  t  form  continuations  of  the  flange  /,  these  toes  being  such  that  their  ends 
can  be  thrown  inward,  so  as  to  bear  upon  the  nose  of  the  cam  ///,  or  can  be  thrown  outward,  so 
as  to  come  in  contact  with  the  outer  flange,  kf  of  the  cam.  The  toe  s  has  a  projecting  pin  passing 
through  a  segmental  slot,  w,  in  the  disk  of  the  cam,  and  having  an  anti-friction  roller,  which  is 
acted  upon  by  a  spring,  tending  to  thrust  the  point  of  the  toe  outw  ard  against  the  flange  h  of  the 
cam,  so  that,  supposing  the  cam  to  be  rotating  in  the  direction  of  the  arrow,  Fig.  907,  the  roller 
on  the  stud  of  the  arm  would  be  under  the  influence  of  the  cam  m  and  inner  groove  n,  and  the 
arm  would  be  depressed  at  the  proper  intervals  to  effect  the  forward  movement  of  the  slides  and 
the  full  beat  of  the  lathe.  If  the  toe  s,  however,  is  adjusted  to  the  position  shown  in  Fig.  908, 
the  roller  will  traverse  the  outer  groove,  p,  of  the  cam,  and  will  be  free  from  the  influence  of  the 
cam  m,  so  that  there  will  be  no  vibration  of  the  arm  and  no  movement  of  the  slides  and  crank- 
shaft; thus  the  lathe  will  move  forward  to  the  full-beat  point  on  each  stroke,  so  as  to  produce 
plain  or  unpiled  fabric.  The  toe  /  serves  to  bridge  the  groove  11  when  the  roller  is  traversing  the 
outer  groove,/,  there  being  in  such  case  a  practically  unbroken  flange,  z,  so  as  to  insure  the 
proper  guidance  of  the  roller. 

In  order  to  permit  the  ready  adjustment  of  the  toe  s  to  the  position  shown  in  Fig.  908,  when 
such  adjustment  is  desired,  hang  to  one  of  the  frames  an  arm,  which  is  adapted  to  act  on  the 
roller,  carried  by  the  pin  of  the  toe  s,  this  arm  being  connected  by  a  suitable  cord  to  a  lever,  hung 
to  a  stud  on  the  breastbeam  of  the  loom,  so  as  to  be  within  easy  reach  of  the  attendant. 

For  figured  terry  fabrics  as  produced  on  harness-work,  the  Geo.  W.  Stafford  Manufacturing 
Company,  Providence,  R.  I.,  build  a  dobbie  specially  adapted  for  this  purpose.  This  dobbie 
requires  the  pegging  of  two  patterns  on  the  chain.  By  means  of  the  box-chain  we  can  arrange 
the  former  to  move  automatically  sideways  so  as  to  bring  the  different  patterns,  as  required  by  the 
fabric,  under  the  operation  of  the  hooks.  Thus  we  can  weave  terry  for  a  certain  distance,  and 
then  move  the  chain  for  ordinary  weaving.  For  very  heavy  work  the  "  Positive  Dobbie  "  must  be 
used,  which,  by  being  a  "  Double  Action"  is  very  easy  on  the  yarn, 

PILE  FABRICS  OF  A  SPECIAL  METHOD  OF  CONSTRUCTION. 

Smyrna  Carpets  and  Rugs. 

These  fabrics  are  made  on  a  loom  specially  built  for  their  manufacture  and  is  known  as  the 
"  Hautelisse  Loom!' 

Diagram  Fig.  909  illustrates  a  section  of  this  loom.  In  this  loom  the  warp  passes  from  the 
beam  g  (upon  which  it  is  wrapped)  over  the  guiding  roller  f,  through  heddles  b,  c,  down  towards 
the  place  a,  where  the  weaver  is  situated  while  at  work.  The  heddles  being  in  a  horizontal 
position  are  fastened  to  two  rollers,  d  and  e.  The  latter  (by  reason  of  their  turning  to  the  right 
or  left)  operate  the  heddles,  which  in  turn  produce  the  opening  of  the  shed.  (The  loom,  it  will 
be  observed,  is  technically  a  "  vertical  loom.") 

The  pile  in  these  fabrics  is  produced  by  inserting,  separately,  loops  of  yarn  for  each  square 
on  the  designing  paper  of  the  respective  design.  This  method  of  producing  the  pile  in  a  fabric 
is  a  slow  and  troublesome  work,  still  fabrics  showing  many  varieties  of  colors  can  be  produced. 


222 


The  body  or  ground  structure  of  a  Smyrna  Carpet  or  Rug  is  made  with  either  strong 
woolen-linen  or  jute  threads,  and  the  pile  of  a  soft  woolen  yarn. 

Diagram  Fig.  910  illustrates  the  method  of  interlacing  (shown  in  the  front  view).  The 
vertical  threads  represent  the  warp,  and  the  horizontal  threads  the  necessary  ground  or  body 
picks.  At  a  is  shown  the  insertion  of  a  loop  (pile).  This  loop,  intertwined  with  the  two  warp- 
threads  of  the  ground  structure,  is  shown  separately  in  its  section  in  Fig.  911. 

The  body-filling  is  inserted  by  a  "block,"  as  shown  in  Fig.  912  (clearly  indicating  the  yarn 
as  wound  around  it,  and  leaving  this  block  at  the  place  marked  The  beating  up  of  the  filling 
(ground  and  pile)  is  effected  by  means  of  a  comb  shown  in  Fig.  913.    In  this  method  of  operation 


Fig.  909.  Fig.  910.  Fig.  911. 


the  weaver  inserts  two  body-picks ;  next,  he  places  one  row  of  pile  loops  over  the  entire  width  of 
the  fabric  (selecting  their  different  colors  in  accordance  with  the  design  which  is  to  be  produced). 
Then  he  again  inserts  two  body  picks  (by  turning  the  rollers  d  or  e  for  each  pick)  to  be  followed 
by  the  next  row  of  loops  across  the  fabric  ;  and  selecting  the  colors  as  required  by  the  design. 

This  method  of  alternately  exchanging  two  body  picks  with  one  row  of  loops  is  repeated 
until  the  fabric  is  finished.  On  fabrics  of  a  sufficient  width  two  or  more  persons  can  operate  at 
once.  After  the  fabric  is  finished  upon  the  loom  it  is  "  sheared  "  so  as  to  produce  an  even  height 
of  the  pile. 

This  method  of  tying  each  individual  pile-thread  to  the  ground  structure  in  Smyrna  or 
Turkey  carpets  and  rugs  is  very  laborious,  and  hence  materially  increases  their  cost  of  manufacture. 


Fig.  912.  Fig.  913. 


Various  methods  have  been  devised  to  imitate  these  beautiful  fabrics  in  a  way  that  would  give  a 
better  production  for  the  manufacturer  as  well  as  to  provide  a  mode  whereby  a  certain  proportion 
of  any  desired  number  of  carpets  of  the  same  pattern  might  be  produced  in  one  operation.  This 
has  been  accomplished  quite  successfully  in  a  process  invented  by  Messrs.  Kohn  &  Watzlawik 
and  resembles  in  its  main  features  and  principles  the  explanations  given  by  us  in  a  former  chapter, 
pages  154  to  158,  on  the  manufacture  of  chenille  rugs  and  carpets,  and  pages  160  to  165,  on  the 
manufacture  of  chenille  fringe. 

Such  imitations  of  Turkey  carpets  are  produced  mechanically  from  patterns  composed  of 
colored  squares  that  clearly  indicate  the  design  and  arrangement  of  the  colored  squares  to  be 
reproduced  in  the  carpet.    In  the  carpet  each  transverse  range  of  squares  corresponds  to  a  pick 


223 


of  pile  filling,  and  each  pick  of  this  pile  filling  consists  of  a  woven  strip  (or  ribbon),  the  warp  of 
which  is  composed  of  wool  threads  of  the  required  colors.  These  filling  strips  have  edges  con- 
taining no  filling  (fringed)  and  which  are  intended  to  be  brushed  up  for  forming  the  pile  of  the 
carpet.  These  ribbons  or  filling  strips  also  contain  110  filling  in  their  centre,  for  two  reasons:  To 
form  the  imitation  of  the  knot  characterizing  the  real  Turkey  carpets,  and  again  to  reproduce  the 
(pile)  pattern  of  the  face  in  an  ordinary  woven  appearance  on  the  back.  These  explanations 
demonstrate  that  two  operations  are  necessary  in  producing  the  imitation.  First,  the  weaving  of 
the  fringed  strips  or  ribbons  composed  of  different  colored  threads,  according  to  the  transverse 


Fig.  914.  Fig.  915.  Fig.  916. 


ranges  of  the  colored  squares  in  the  pattern,  and,  second,  the  weaving  (or  setting)  of  these  strips 
in  a  common  warp  to  produce  the  pile  carpet. 

In  diagrams  Figs.  914  to  919  a  clear  illustration  of  the  entire  method  of  operation  is  given. 
Fig.  914  illustrates  a  carpet  pattern.  Fig.  915  shows  one  strip  (ribbon)  cut  from  a  chain  corre- 
sponding to  the  upper  transverse  range  (or  row)  of  the  pattern  Fig.  914.  Fig.  916  shows  a  like 
strip  from  which  the  centre  filling  has 'been  removed. 

Fig.  917  represents  the  back  of  the  carpet.  Fig.  918  illustrates  by  a  perspective  view  the 
method  of  operation  at  the  loom,  weaving  imitation  Turkey  carpets.  Fig.  919  is  a  section  cut  of 
the  shed  and  two  transverse  ranges  of  pile  picks  previously  inserted. 

We  will  next  give  a  short  description  of  the  methods  for  producing  the  filling  strips  or 
ribbons  necessary  for  the  construction  of  the  fabric. 


Fig.  918.  Fig.  919. 


■:  >r*-ifr  11  41  1  iij  11  1  11  1  11  i|  1 

r*nri:§M!  _  «  » » 

M|dlMul^uritt|«t|»14|>IUl),i«!«ia|^^  »|w<lM«>l 'Wj  I 

j»  «^^.jM!|i|aj^lJip||l;|Cli  -'.  ^  III 


As  many  different  warps  for  weaving  the  chenille  strips  for  a  certain  carpet  are  necessary  as 
there  are  differently  figured  or  colored  transverse  ranges  (rows  of  squares)  in  the  pattern  of  the 
carpet,  each  warp  producing  any  desired  number  of  fringed  filling  or  pile  strips  of  the  same  trans- 
verse range  of  colors,  that  are  woven  into  suitable  warps  for  as  many  different  carpets  of  the  same 
pattern,  or  into  a  warp  for  one  carpet  as  many  times  as  the  transverse  range  of  colors  correspond- 
ing to  the  strip  or  ribbon  recurs  in  the  carpet.  Thus,  for  instance,  the  strip  or  ribbon  shown  in 
Fig.  916  corresponds  with  the  transverse  range  A'  of  the  pattern  shown  in  Fig.  914,  and,  sup- 
posing that  one  hundred  such  ribbons  are  produced  from  one  chain  of  warp,  they  may  be  used 
as  a  strip  (pile  pick)  in  one  hundred  carpets  for  one  transverse  range  of  colored  squares  in  the 


224 


pattern,  or  in  a  given  number  of  carpets  for  a  multiplicity  of  identical  transverse  ranges  of  squares 
in  the  pattern.  The  length  of  these  multicolored  warps  therefore  not  only  depends  on  the  number 
of  carpets  of  the  same  pattern,  but  also  on  the  number  of  times  the  same  transverse  range  of 
colors  is  repeated  in  this  pattern,  also  on  the  length  of  the  pile  of  the  carpet.  After  a  warp  is 
beamed,  it  is  bound  at  intervals  equal  to  twice  the  length  of  the  pile  to  be  formed  by  a  few  picks 
of  any  suitable  filling,  the  fabric  being  cut  centrally  of  the  fillingless  portion  on  opposite  sides  of 
the  filling  to  form  the  fringes  for  the  pile.  The  width  of  these  multicolored-wool  chains,  or,  in 
other  words,  the  length  of  the  filling  strips  or  ribbons  to  be  produced  therefrom,  corresponds,  of 
course,  to  the  width  of  the  carpet  to  be  produced  thereby,  and  the  number  of  colored-wool 
threads  per  inch,  which  is  usually  from  four  to  five  threads,  according  to  the  quality  of  the  carpet. 
The  length  of  the  fringe  in  the  chenille  strips  is  regulated  by  interweaving  a  flat  bar  or  lath,  b, 
b' ,  Fig.  915,  of  a  certain  width. 

After  cutting  the  different  strips  apart  they  must  be  numbered.  To  prevent  the  displacement 
of  the  wool-yarn  filling,  these  are  firmly  sewed  to  the  warp  with  a  sewing-machine,  as  shown  by 
dotted  lines  x  x  in  Fig.  916,  and  finally  the  pack-thread  d,  between  the  wool-threads  c  and  cl \  are 
drawn  out  to  leave  a  central  fillingless  portion  in  the  strip  or  ribbon,  as  shown  in  Fig.  916,  that 
imitates  in  the  completed  carpet  the  knots  of  the  true  Turkey  carpet,  and  reproduces  the  pattern 
on  the  back  of  such  carpet,  as  shown  in  Fig.  917.  By  means  of  these  strips  or  ribbons  the 
carpets  are  produced  as  follows,  referring  more  particularly  to  Figs.  918  and  919 :  A  ground-warp 
is  drawn  in  two  harness,  e  and  e\  of  an  ordinary  loom,  the  reed  f  of  which  contains  one  thread 
for  each  split.    (The  weave  used  for  interlacing  is  the  common  plain  ■□  weave.) 

In  beginning  a  carpet,  a  few  picks  of  wool-yarn  are  first  introduced  into  the  warp,  and  then 
the  first  strip  or  ribbon.  To  prevent  the  shrinking  of  these  strips  they  are  secured  at  their  ends 
to  a  rod  or  bar,  /,  triangular  in  cross-section,  which  is  introduced  into  the  chain  or  warp  in  such  a 
manner  that  the  rear  or  thicker  portion  will  be  elevated  above  the  forward  or  thinner  portion  of 
this  rod.  By  means  of  a  brush  the  fringe  at  the  front  edge  of  the  ribbon  is  brushed  up  or 
erected  to  form  the  pile.  The  position  of  the  warp-threads  is  now  reversed,  the  reed  beaten  up 
against  the  rod  t,  and  the  latter  tilted  so  as  to  elevate  its  front  edge  above  the  rear  edge,  which 
will  enable  the  operator  to  brush  up  the  fringe  along  the  said  rear  edge  of  the  filling  strip  or 
ribbon,  and  when  this  has  been  effected  the  strip  or  ribbon  is  detached  from  the  rod  i,  and  the 
latter  is  withdrawn  from  the  warp. 

In  order  to  fill  out  the  warp  between  the  pile-threads  of  adjacent  strips  or  ribbons,  a  few 
picks  of  strong  wool  yarn  are  interposed  and  a  new  strip  of  ribbon  introduced  as  a  filling  into 
the  warp  of  pack  thread  and  the  operation  repeated  until  the  carpet  is  completed,  when  again 
a  few  picks  of  strong  wool  yarn  are  woven  in  to  bind  the  edges.  The  carpet  so  produced 
is  then  finished  in  the  usual  manner  by  steaming,  beating,  brushing  and  shearing. 

Having  given  in  our  chapters  on  pile  fabrics  (page  149  to  224)  a  very  closely  detailed 
description  of  their  methods  of  construction,  both  theoretical  and  practical,  commencing  with  the 
simplest  structure  and  finishing  with  some  of  the  most  intricate  pile  structures  known,  we  feel 
confident  that  we  have  imparted  sufficient  details  to  enable  any  student  of  technical  designing  to 
master  the  principles  of  construction  of  any  given  pile  fabric.  These  chapters  also  illustrate  the 
extensive  use  of  pile  fabrics  for  floor  and  other  household  decorations,  in  addition  to  their  use 
for  clothing  purposes.  The  manufacture  of  these  fabrics  is  of  great  extent  and  importance.  In 
some  households  is  often  to  be  found  for  floor  decorations  a  less  durable  and  effective  fabric  known 
as  the  "  Ingrain  Carpel"  which  is  no  pile  structure  but  a  common  double-cloth  structure. 

In  my  treatise  on  "  The  Jacquard  Machine  analyzed  and  explained,  with  an  Appendix  on  the 
Preparation  of  Jacquard  Cards  and  Practical  Hints  to  Learners  of  Jacquard  Designing,"  the  structure 
of  the  Ingrain  Carpet  fabric  and  the  preparing  of  designs  for  the  same,  as  also  the  practical  part 
of  manufacturing,  and  the  tying-up  of  the  harness  and  operating  the  loom,  etc.,  are  fully  treated. 


225 


The  thorough  study  of  these  chapters  will  prove  very  profitable,  especially  the  chapters  on 
tying-up  Jacquard  harness  for  the  different  other  Jacquard  fabrics  such  as  damasks,  dress  goods, 
upholstery  fabrics,  gauze,  shawls,  etc. 

Two-Ply  Ingrain  Carpet. 

We  herewith  give  the  reader  a  brief  description  of  the  method  of  construction  and  the 
principles  governing  the  manufacture  of  the  Two-ply  Ingrain  Carpet,  an  article  composed  of 
two  fabrics,  produced  on  the  regular  double-cloth  system.  These  two  fabrics  are  arranged  in  the 
loom  to  form  figures  by  a  simple  exchanging  of  positions  (see  Fig.  920).  A  great  variety  of 
colors  may  be  put  into  each  of  these  separate  cloths,  (I  and  II),  and  the  most  elaborate  designs 

Face  of  Warp. 

No.  I,  Single  Cloth.  ^^^^^^^^^^^^^^^^ ^  No.  II,  Single  Cloth. 

No.  II,  Single  Cloth.    d^^@®^^^^^®^^^^^     No.  I,  Single  Cloth. 

Warp- threads  a  and  b  for  cloth  number  I. 
Warp-threads  c  and  d  for  cloth  number  II. 
Fig.  920. 

may  be  used  for  exchanging  cloth  I  and  II.  On  every  part  of  the  carpet  where  these  two  fabrics 
do  not  exchange,  each  works  on  the  plain  weave.  The  exchanging  of  these  two  fabrics  binds, 
both  into  one,  thus  forming  the  Ingrain  Carpet.  In  the  manufacture  of  this  carpet  four  sets  of 
warp-threads,  and  also  four  sets  of  filling-threads  are  generally  employed;  but  if  occasionally  more 
or  less  should  be  used  in  warp  or  in  filling,  or  in  both,  in  the  same  fabric,  the  principle  of  ex- 
changing is  still  observed.  If  employing  four  sets  in  warp  and  filling,  two  sets  of  each  are  used 
for  forming  the  figure,  the  other  two  sets  forming  the  ground.  Each  of  the  figure  threads  has  as 
its  mate  one  of  the  ground  threads.  In  the  common  effects  in  the  Ingrain  carpet,  (ground  up, 
figure  up,  or  one  or  the  other  shot  about  effects)  these  threads  are  so  arranged  that  when  a  figure 
thread  appears  upon  the  face  of  the  fabric,  its  mate  appears  upon  the  back,  and  when  the  figure 
thread  appears  upon  the  back  of  the  fabric,  the  corresponding  ground  thread  appears  upon  the 
face. 

Ground  hj»       Figure   wp    ,   Stala&tnd  ,\\«t    Stal  afx>wt  «swt 
»   v  <i   ^  

B-^*      i       t>        i        »        .1        '»       «  •     i\       ta      n      it      :t       fj      10  u. 

"Ji^tcre,        ^  U'  R-td  0   I—  i>Ca_tl... 

Fig.  921. 

Diagram  Fig.  921  shows  the  section  of  the  effect  commonly  used  in  ingrain  carpet. 

Suppose  the  filling-threads  for  the  figure  to  be: 
Red,  indicated  by  heavy  shaded  circles;  picks  2,  6,  10,  14,  18,  22,  26,  30. 
Black,  indicated  by  full  black  circles;  picks  4,  8,  12,  16,  20,  24,  28,  32. 

And  the  filling-threads  for  the  ground  to  be: 
White,  indicated  by  empty  circles;  picks  I,  5,  9,  13,  17.  21,  25,  29. 
Olive,  indicated  by  light  shaded  circles;  picks  3,  7,  11,  15,  19,  23,  27,  31. 

A  careful  examination  of  the  drawing  shows  that  the  white  threads  mate  with  the  red,  and 
the  black  threads  with  the  olive,  so  that  when  one  of  these  colors  shows  upon  the  face  the  mating 
color  will  show  upon  the  back,  and  vice  versa. 


226 


As  a  general  rule,  these  warp-threads  are  of  the  same  color  as  the  filling-threads;  hence, 
every  rilling  pick  appearing  on  face  is  bound  by  a  warp-thread  of  the  same  color,  and  if  appearing 
on  back  by  the  other  color  of  the  same  system;  thus,  in  the  present  example,  the  white  filling  is 
covered  on  the  face  of  the  fabric  by  white  warp,  and  if  appearing  on  the  back  of  the  fabric  by 
olive  warp;  the  olive  filling  is  covered  by  olive  warp  on  the  face  of  the  fabric  and  by  white  warp 
on  the  back  of  the  fabric. 

The  red  filling  is  covered  by  its  red  warp  on  the  face  of  the  fabric  and  by  black  warp  on 
the  back  of  the  fabric;  the  black  filling  being  covered  by  black  warp  on  the  face  of  the  fabric  and 
by  red  warp  on  the  back  of  the  fabric. 


/ 

77 

■  ■ 
■■  ■ 

i 

□■■■□□□□□□C  "!         □■  it  ]□□□□□ 
■■■■  ■■■■■■■ 
■  ■■■  .1             j              ■   .  ]D  ,  1 

■  ■■■■■                                                ■  iL_lJ 

Fig.  922. 


Fig.  923. 


In  the  diagram  Fig.  921  the  four  " standard  effects"  of  the  ingrain  carpets  are  illustrated  with 
32  picks,  allowing  8  picks  for  the  illustration  of  each  part. 

First  effect,  picks  1  to  8,  is  ground  up  (white  and  olive). 
Second  effect,  picks  9  to  16,  figure  up  (red  and  black). 

Third  effect,  picks  17  to  24,  is  first  effect  in  "shot  about"  (red  and  olive  up). 
Fourth  effect,  picks  25  to  32,  is  second  effect  in  "shot  about"  (white  and  black  up). 
Fig.  922  represents  a  small  portion  of  a  design  illustrating  the  three  principal  combinations 
required  in  the  manufacture  of  the  two-ply  ingrain  carpets.    /=  figure  up;  II—  ground 
up ;  III  =  effect,  technically  known  as  "  shot  about,"  and  derived  from  "  one  pick  figure  up,  one 
pick  ground  up  "  (in  the  design),  and  repeated. 

In  Fig.  923  a  detailed  description  or  analysis  of  the  interlacing  warp  and  filling  of  Fig.  922 
is  given.  In  the  same  ■  represents  figure  up,  q  represents  ground  up,  produced  by  the  Jacquard 
machine ;  a  represents  weave  for  ground,  a  represents  weave  for  figures,  produced  by  journals. 


OMite.    ®«0liW.    ©=fted  .  #«BUct. 

Ground  u,p .    Mate-tfbrcaol^  stole  &14  &vde.       Tvo^are  u^>.      3ftot-airaiA,t  e^jeot$. 


Fig.  924. 


In  Fig.  923  the  weaving  of  the  "  shot  about "  effect  calls  for  two  picks  face  and  two  picks 

back.    An  examination  of  this  part  shows  that  the  warp-thread  represented  by  the  light  pick  § 

is  to  be  raised,  or  has  been  raised  in  the  adjoining  heavy  pick  3  -x ;  further,  we  find  the  two 

light  picks  separated  by  the  raising  of  a  different  warp-thread  in  each  pick,  which  is  also  effected 
between  the  two  heavy  picks  by  the  lowering  of  another  warp-thread.  If  these  mate  threads 
introduced  in  succession  should  be  required  to  show  side  by  side  (as  may  be  the  case  in  some 
special  effects)  either  on  the  face  or  the  back  of  the  fabric,  these  changes  must  be  indicated  on 
the  design  by  different  colors.  If  such  effects  are  to  be  introduced  when  using  the  common 
ingrain  Jacquard  machine,  the  needles  of  the  latter  must  be  operated  on  at  each  pick.  This 


227 


requires  twice  as  many  cards  as  are  used  in  designs  where  the  mate  threads  are  always  placed 
below  or  above  their  respective  corresponding  threads. 

In  diagram  Fig.  924  a  section  cut  of  an  ingrain  carpet,  also  containing  the  previously  ex- 
plained effects  of  "  mate  threads  side  by  side  on  face  of  the  fabric,"  is  shown  in  connection  with 
the  regular  effects,  "  ground-up,  figure-up,  and  both  combinations  of  shot  about." 

Diagram  Fig.  925  indicates  the  rotation  of  inserting  picks  in  each  ply  corresponding  to  the 
section  of  the  fabric  shown  in  Fig.  924. 

Ground-up.      Mate  threads  side  by  side.     Figure  up.       Shot  about. 


1st  effect.  2nd  effect.  ist  effect.  2nd  effect. 


Face-ply.   |  1 

3 

5 

7 

9 

10 

13 

14 

19  |  20 

23  24 

26 

28 

30 

32 

34  35  |  37  4o 

Face-ply. 

Back-ply. 

■|4 

6 

8 

11 

12 

15  |  16 

17 

18 

21  22 

25  |  27  |  29 

3i 

33 

36 

38|39 

Back-ply. 

Fig.  925.    Diagram  illustrating  the  rotation  of  inserting  the  picks  in  each  ply,  corresponding  to  section  of  two-ply 

ingrain  carpet,  Fig.  924. 

Other  effects  (combination  of  colors)  in  ingrain  carpets  are  produced  by  using  three  different 
colors  of  rilling  in  each  of  the  two  single-cloth  fabrics,  and  also  by  throwing  them  singly  and  in  a 
definite  order  or  succession  in  each  ply.  For  example,  the  three  colors  for  the  one  cloth  are 
black,  blue  and  brown.  They  must  be  interwoven  as  follows  :  Black — blue,  brown — blue, 
black — blue,  brown — blue,  and  so  on. 

Suppose  the  colors  required  to  be  used  for  the  other  cloth  are  white,  olive  and  drab.  They 
must  be  interwoven  as  follows  :  White — olive,  drab — olive,  white — olive,  drab — olive,  etc. 


OkOi&OtGLCy8kOa 
O  -nrftut 

©  =Kat.  (§>  =Ofivc 
©  =Brwiv  -  (g)  \Dra<r. 

Fig.  926, 

As  the  loom  weaves  both  ply  at  the  same  time,  throwing  a  shot  in  each  ply  alternately,  the 
actual  order  of  weaving  in  the  present  example  would  be  as  follows:  1st  pick,  black ;  2d  pick, 
white;  3d  pick,  blue;  4th  pick,  olive;  5th  pick,  brown;  6th  pick,  drab;  7th  pick,  blue;  8th  pick, 
olive,  and  so  on,  eight  picks  in  the  repeat  of  one  combination.  The  colors  printed  in  italics  repre- 
senting the  colors  of  one  ply,  and  the  colors  printed  in  roman  represent  the  colors  of  the  other  ply. 

Fig.  926  illustrates  a  diagram  representing  the  previously  explained  method  of  placing  colors 
in  an  ingrain  carpet. 

Rules  for  Selecting  the  Squared  Designing  Paper  for  Ingrain  Carpets. 

In  selecting  the  squared  designing  paper  for  a  two-ply  ingrain  carpet,  always  observe  the  pro- 
portion existing  between  the  number  of  warp  and  filling-threads.  For  instance,  take  a  carpet  having 
1072  ends  warp  (536  ground  and  536  figure)  per  yard,  with  30  picks  per  inch  (1  pick  ground  and 
1  pick  figure,  or  15  pairs).  Then,  1072  36  =  29ft  ends  of  warp  per  inch.  The  proportion  is 
as  29 II  :  30;  or,  what  is  practically  the  same,  30  :  30,  showing  that  the  paper  must  be  equally 
divided,  and  8x8  the  squared  designing  paper  to  be  used. 

Again,  take  a  carpet  having  832  ends  warp  (416  ground  and  416  figure)  per  yard,  with  20 
picks  per  inch  (1  pick  ground  and  1  pick  figure,  or  10  pairs).  Then,  832  -*-  36  =  23  and  the 
proportion  is  as  23  i  :  20,  or  as  yhr  :  61,  practically  8:7;  and  8x7  paper  may  be  used. 


Gauze  Fabrics. 


Principle  of  Construction. 

Gauze  fabrics  form  the  second  main  division  of  textile  fabrics,  and  are  characterized  by 
not  having  their  warp-threads  resting  parallel  near  each  other,  as  observed  in  previously  explained 
weaves  and  fabrics.  In  gauze  fabrics  they  are  more  or  less  twisted  around  each  other,  forming 
through  the  different  ways  of  twisting  as  well  as  of  stopping  to  do  so,  different  designs. 

In  gauze  we  find  two  distinct  divisions  of  warp-threads :  The  regular  warp  called  the 
"  ground-warp,"  and  the  "  douping-warp,"  or  the  warp  used  for  twisting  around  the  former.  The 
"  douping-warp  "  threads  are  also  known  as  "  whip-threads." 

In  diagram  Fig.  927,  the  structure  of  a  "plain  gauze  fabric," 
is  shown.  Threads  indicated  by  a  and  shown  in  outlines  repre- 
sent the  "  ground-warp;"  whereas,  threads  marked  b  and  shown  in 
black  illustrate  the  "  whip-threads." 

Gauze  weaving  is  done  upon  a  system  wholly  apart  from    L  ^  ^.  ^^L_-,g    Fig.  927. 

•ordinary  and  pile  weaving.  For  the  reason  that  we  find  two  systems 
of  warp-threads  in  the  gauze  fabrics  we  must  use  two  systems,  or 

sets  of  harness,  for  operating  the  warp  at  the  weaving.  One  set  of  the  harness  is  known  as 
the  "  Ground-harness  set"  (which  we  will  indicate  in  our  following  illustrations  of  drawing-in  drafts 
for  gauze  weaving  by  A)  and  the  other  harness  set  is  technically  known  as  the  "  douping  harness  set" 
(which  we  will  indicate  through  the  lecture  by  E).  Before  proceeding  with  the  weaving  and  con- 
struction of  gauze  fabrics  we  will  give  an  explanation  of  the  douping-harness  set,  and  use  for 
explanation  the  arrangement  necessary  to  produce  fabric,  Fig.  927,  or  a  single  one-sided  doup. 

In  diagram  Fig.  928  a  specimen  of  a  complete  doup  is  shown.  In  the  same  we 
find  a  heddle  similar  to  heddles  used  in  regular  weaving  (see  a,  b  in  diagram)  and 
which  is  known  in  the  present  kind  of  weaving  as  the  "  standard  heddle."  To  this 
standard  heddle  we  find  the  actual  doup  adjusted  (see  d,  c  in  diagram).  The  doup  con- 
sists of  a  smooth  and  strong  linen  or  silk  thread  which  is  fastened  to  the  lower  part 
of  a  common  harness  frame  (see  c  in  diagram),  passes  then  through  the  upper  opening  of 
the  standard  heddle  (see  e  in  diagram  Fig.  928),  returning  to  its  starting  point  by  passing 
through  the  eye  of  the  standard  heddle,  and  thus  connecting  the  upper  part  of  the  doup 
Fig.  928.  tQ  stancjarci  heddle.  Through  the  part  of  the  doup  extending  outside  of  the  upper 
part  of  the  standard  heddle  to  its  eye,  the  whip-thread  is  passed,  (see  black  dot  at  place  indicated 
by  d  in  diagram  928  representing  its  section).  Two  movements  of  the  doup  and  the  standard 
heddle  contain  the  entire  secret  of  gauze  weaving.  When  these  are  clearly  understood  by  the 
student  well  up  in  designing  and  weaving  the  first  main  division  of  textile  fabrics,  the  method 
of  constructing  the  present  system  will  readily  explain  itself  to  him. 

In  gauze-weaving,  every  warp-thread  (ground  as  well  as  whip-thread)  must  be  drawn,  the 
same  as  for  common  weaving,  in  the  ground  harness  set;  see  A,  Fig.  929.  Next,  the  whip-thread 
is  passed  below  the  ground-thread  through  the  doup  (see  B  in  Fig.  929,  illustrating  the  plan  of 
this  method  of  operation),  and  with  its  mate  (the  ground-thread),  through  one  dent  of  the  reed. 

Now  let  us  examine  the  first  movement  of  the  doup  and  its  standard  heddle,  and  also  with 
reference  to  the  ground  harness  set. 

Suppose  we  lift  the  harness  frame  containing  the  doup  adjusted  to  its  lower  shaft,  technically 
known  as  the  "  skeleton  harness,"  and  so  permit  the  doup  to  get  loose,  and  consequently  allow 
the  whip-thread  to  be  operated  on,  as  in  common  weaving,  by  means  of  the  ground  harness. 

(228) 


229 


The  whip-thread  will  in  this  instance  return  to  its  regular  position  near  one  side  of  the  ground- 
warp,  as  regulated  by  the  drawing  in  of  the  warp  in  the  ground  harness  set  (to  the  right  hand 
side  in  the  present  example).  Suppose,  again,  we  raise  this  ground  harness  and  insert  a  pick  in 
the  shed  thus  formed.  During  this  process  the  doup  will  raise,  but  out  of  action,  behind  the 
reed.  Having  thus  inserted  pick  number  one  let  us  next  raise  the  standard  heddle  and  the 
skeleton  harness,  leaving  the  ground  harness  set  undisturbed.  This  movement  of  the  harness 
compels  the  whip-thread  to  raise,  close  to  the  eye  of  the  standard  heddle,  d  rawing  the  whip- 
thread  below  the  ground-thread  and  raising  the  former  on  the  opposite  side  of  the  ground  warp- 
thread,  as  done  in  the  previous  pick.  This  time  the  doup  will  be  in  position  parallel  to  the 
standard  heddle,  whereas  the  whip-thread  will  be  crossed  behind  the  reed,  between  the  sets  of 
douping  and  ground-harness.  This  crossing  and  raising  of  the  thread  to  full  height  of  shed  in 
such  a  short  distance  will  consequently  put  a  great  amount  of  tension  on  the  whip-thread  and 
therefore  necessitate  two  points  in  the  method  of  operation  which  we  will  mention  briefly. 
We  must  have  sufficient  space  between  both  sets  of  harness,  i.  c.}  the  heddle  of  the  ground 
harness  set  in  which  the  whip-thread  is  drawn  and  the  standard  heddle  and  doup-head  through 
which  this  whip-thread  is  passed  in  rotation.  We  also  must  arrange  in  rear  of  harness  set 
near  the  whip-roll  an  arrangement  technically  known  as  "  Slackener."  All  the  whip -threads 
required  to  doup  are  passed  over  this  slackener,  which  is  situated  above  the  regular  warp- 
line  after  leaving  the  "whip-roll"  of  the  loom  and  in  their  running  towards  the  ground 

harness  set. 

-^^^  aj?k.  On  the  first   pick  previously  ex- 

plained, this  slackener  will  remain  undis- 
turbed, as  no  strain  is  required  on  the 
whip-thread,  whereas  on  the  second  pick 
explained,  this  slackener  is  automatically 
lowered  to  bring  the  whip-thread  nearly 
in  the  regular  warp  line  in  rear  of  har- 
ness. This  in  turn  allows  the  whip-thread  to  ease  up  in  front,  where  required,  to  cross  around 
the  ground  warp-thread  and  is  raised  a  short  distance  by  the  doup  on  the  opposite  side  of  the 
ground  warp-thread,  as  compared  with  the  first  pick.  This  slackener  for  gauze  weaving  is  also 
technically  known  as  "easer"  (by  reason  of  easing  the  whip-thread  when  douping).  We  will 
later  on  return  to  a  more  detailed  illustration  and  explanation  of  the  same  and  its  arrangement 
for  plain  as  well  as  figured  work. 

In  diagram  Fig.  930,  A  represents  the  whip-roll  of  the  loom,  b  the  section  of  the  slackener, 
d  ground  heddle  for  ground  warp-thread,  e  ground  heddle  for  whip-thread, /doup,  h-i  reed,  k 
last  end  of  woven  fabric.  Thus  the  line  shown  in  full  black,  a,  d,  k,  represents  the  ground-thread,  and 
line  in  full  black,  a,  b,  e,  k,  represents  the  whip-thread;  both  threads  "at  rest."  The  object  of  the 
present  illustration  is  to  explain  the  principle  of  the  slackener,  and  therefore  wre  want  the  doup 
(standard  and  skeleton  harness)  raised  (see  /tog)  as  represented  by  g.  To  counteract  the  strain 
thus  put  on  the  whip-thread,  we  lower  at  the  same  time  the  slackener  (see  b  to  c),  giving  it 
position  ct  at  the  same  time  the  doup  is  raised  to  position  g.  Hence  the  dotted  line  a,  c,  e,  g,  k 
represents  the  whip-thread  when  douping.  After  inserting  the  filling  by  means  of  shuttle  (s),  the 
shed  (n)  closes  and  the  slackener  returns  automatically  to  its  point  of  starting,  b. 

In  Fig.  931  we  illustrate  a  corresponding  ground  plan  to  diagram  Fig.  930,  representing  a 
clear  idea  of  the  drawing  in  of  the  warp  and  threading  of  the  doup.  Outlined  warp-thread  a,  d,  k 
represents  ground  warp-thread,  thread  shown  in  full  black,  a,  e,  /  k,  the  whip-thread,  d  and  e 
the  ground  harness  set,  /  the  passing  of  the  whip-thread  below  the  ground  warp-thread  and  /i,  i 
the  reed. 

This  illustration  explains  the  threading  of  a  whip-thread  in  a  doup  situated  at  the  left  of  the 


Fig.  930. 


Fig.  931. 


230 


Fig.  932. 


ground  warp-thread,  but  the  student  will  readily  apply  the  same  arrangement  to  the  opposite 
kind  of  doup  by  simply  reversing  the  illustration. 

We  will  next  turn  our  attention  to  the  designing  of  various  gauze  fabrics,  and  commence 
with  the  plain  gauze,  as  illustrated  in  Fig.  927.  In  plain  gauze  all  the  warp-threads  work  in 
pairs — 1  end  "whip"  and  1  end  "ground."  The  entire  warp  is  drawn  on  harness  similar  to  any 
other  warp.  Afterwards  the  whip-threads  are  passed  below  the  standard  heddles  and  threaded 
in  the  doup  (see  Fig.  929),  which  are  passed  through  the  standard  heddles  (see  Fig.  928). 

Fig.  932  represents  a  different  method  for  threading  the  doup,  occasion- 
ally used,  but  which  is  not  as  practical  as  the  arrangement  of  the  doup  illus- 
trated in  Fig.  928. 

In  diagram  Fig.  929  we  illustrate  the  plan  of  drawing-in  ground  harness 
and  threading  the  doup  for  producing  a  piece  of  plain  gauze,  as  shown  in 
Fig.  927. 

A  represents  the  set  of  ground-harness  (2-harness). 
B  represents  the  douping  set.    (Standard  and  skeleton.) 
Standard  warp-threads  are  illustrated  in  outline. 
Whip-thread  is  shown  in  full  black. 
We  find,  as  previously  mentioned,  every  warp-thread  threaded  first  in  the  ground  harness 
set ;  next,  the  whip-threads  passed  below  the  ground-warp  and  threaded  to  the  doup.  Examining 
the  plan  of  the  fabric,  we  find  pick  1  requiring  the  whip  warp-thread  raised  in  its  proper  position 
as  placed  by  the  ground  harness  (to  the  right  of  the  ground  warp-thread);  therefore  this  pick 
will  require  the  raising  of  ground  harness  2  and  the  skeleton  harness,  hence  loosening  the  doup 
for  common  weaving.    Pick  2  calls  for  the  raising  of  the  whip-thread  on  the  opposite  position  of 
pick  I  (to  the  left  side  of  the  ground  warp-threads) ;  therefore  we  must  doup  on  this  pick  by 
raising  only  the  standard  and  the  skeleton  harness,  or,  in  the  present  example,  the  entire  douping 
set.    Pick  3  =  pick  1,  pick  4  =  pick  2,  thus  2  picks  repeat. 

In  the  present  example,  Fig.  927,  we  find  every  pair  of 
warp-threads  (1  ground  and  1  whip)  twist  in  the  same  direction 
Fig.  933.  and  having  the  crossing  in  the  corresponding  drawing-in  draft 
arranged  from  right  to  left.  This  crossing  can  also  be  arranged 
in  the  other  direction,  see  Fig.  933,  but  will,  in  the  present  fabric, 
be  of  no  advantage  to  its  general  appearance,  as  shown  in 
Fig.  934.   -pig.  934. 

We  will  next  explain  and  illustrate  the  combination  of  both 
styles  of  crossing  in  the  same  fabric.    For  example  see  Fig.  935. 
the  drawing  in  of  ground  harness  and  arrangement  for  threading  doup:  1st  pair,  whip-threads 


* 

=4J4 

1  1 n 

ni 

FIG-  935. 


Fig.  936. 


0 

*> 

i- 

0 
J- 

y 

0 

*« 

X 

□ 

□ 

X 

t4  . 

5  Fig. 


937- 


Harness-chain  for  plain 
guaze  fabric,  Figs.  927,  936. 


i 

1 

si 
6 

t4 
2 
i 
0 
i> 

X 

X 

X 

?v  - 

X 

X 

X 

Is.'  . 

.k.     Fig.  938. 


Harness-chain  for  plain  gauz: 
fabric,  Fig.  934. 


threaded  to  the  left-hand  side  of  ground  warp-thread;  2d  pair,  whip-threads  threaded  to  the 
right-hand  side  of  ground  warp-thread. 


231 


Fig.  936  is  the  plan  of  the  woven  fabric.  Harness  chain  is  similar  to  the  one  required  and 
explained  for  fabric  Fig.  927  and  illustrated  in  Fig.  937. 

The  drawing-in  drafts,  Figs.  929,  933  and  935,  are  illustrated  for  2  ground  harness  and 
1  doup.  This  is  done  to  simplify  the  principle  of  construction.  The  same  way  that  we  can 
illustrate  the  common  plain  weave  drawn  in  2-harness  straight,  for  the  clear  understanding  of  the 
beginner  and  use  in  practice,  4,  6,  8,  etc.,  harnesses  as  required  and  guided  by  the  height  in 
texture  of  the  fabric  (number  of  warp-threads  per  inch),  we  may  also,  in  practice,  have  to  increase 
in  gauze-weaving  the  number  of  ground  harness,  or  the  number  of  doups  (standard  and  skeleton), 
or  both  at  the  same  time. 


Peculiar  Character  of  Gauze  Fabrics. 


Comparing  a  plain  gauze  fabric,  as  shown  in  Figs.  927,  934  or  936,  to  any  other  woven 
textile  fabric  results  in  not  finding  one  as  firm  in  its  method  of  interlacing  nor  as  light  in  texture. 

The  principle  of  gauze-weaving — the  twisting  of  warp-threads  around 
each  other  and  holding  at  the  same  time  the  filling  securely  fastened 
between — will  necessarily  result  in  producing  a  very  strong  fabric;  again, 
the  twisting  of  the  warp-threads  between  each  pick,  in  plain  gauze,  will  not 
allow  the  picks  to  come  close  together  in  the  fabric,  thus  resulting  in  the 
production  of  a  fabric  containing  large  perforations. 

In  diagram  Fig.  939  we  illustrate  the  plan  of  a  fabric  which  is  actually 
a  combination  of  plain  and  gauze  and  is  technically  known  as  leno,  or  half- 
gauze.  Pulling  out  from  the  present  fabric  sample  every  uneven  numbered 
pick  (1,  3,  5,  7)  will  result  in  transforming  the  half-gauze  in  the  fabric  to  a 
regular  plain  gauze  effect. 


Fig 


939- 


Combination  of  Plain  and  Gauze  Weaving,  Technically  Known  as  Fancy  Gauze. 

In  Fig.  940  a  combination  of  plain  weaving  and  gauze  is  shown  in  the  plan  of  a  fabric. 
An  analysis  of  this  plan  will  show  3  picks  interlacing  on  ordinary  weaving  to  exchange  with  one 


gauze  pick.  Thus  four  picks  in  repeat.  Drawing  in  of  ground  harness  and  the  threading  of 
the  doups  is  shown  in  Fig.  941.  A  represents  the  ground  harness  set,  (2  harness),  B  represents 
the  doup  (standard  harness  and  skeleton  harness). 

Fig.  942  illustrates  the  harness-chain  executed  correspondingly  to  Figs.  940  and  941,  and  so 
will  readily  explain  itself. 

In  Fig.  943  another  plan  of  a  gauze  fabric,  combining  the  common  plain  cloth  with  gauze 


232 


structure,  is  shown.  Liberating  picks,  2,  3  and  8,  9,  of  the  present  structure  would  result  in 
changing  the  same  to  the  fabric  shown  in  its  plan  in  Fig.  940.  The  drawing  in  of  ground 
harness  set,  and  the  threading  of  doups  to  fabric,  Fig.  943,  is  shown  in  Fig.  944. 

In  Fig.  945  we  illustrate  the  plan  of  a  gauze  fabric  similar  to  the  one  shown  in  Fig.  943, 
the  only  difference  being  the  using,  alternately,  left  and  right-hand  threading  of  the  doups. 
Repeat :  four  warp-threads,  "  two  pairs,"  and  6  picks.  Drawing  in  of  ground  harness  set 
and  the  threading  of  doups  for  producing  the  present  fabric  is  shown  in  Fig.  946.  In  the 
same  we  used  four-harness  for  ground-warp,  but  we  can  also  use  the  drafting  and  threading 
shown  in  Fig.  935,  which  only  calls  for  two  ground  harness  in  set  A  and  will  produce  the 
same  effect. 


Another  plan  for  producing  fancy  gauze-effects  is  found  in  arranging  the  whip-thread 
to  cross  over  two  or  three  ground  warp-threads;  for  example,  as  shown  in  the  plan  of  a  fancy 
gauze  fabric,  Fig.  947.  In  the  same  we  find  the  whip-thread,  after  interlacing  in  connection  with 
three  ground-threads  into  three  successive  picks,  on  regular  plain  cloth,  cross  Delow  the  mate 
(3)  ground-threads  for  forming  at  the  fourth  pick  gauze.  Repeat:  4  warp-threads,  (1  whip,  3 
ground),  one  set  drawn  in  one  dent,  4  picks,  3  ordinary  plain  weaving,  1  douping. 

The  method  of  drawing  in  both  systems  of  warp  in  the  ground  harness  set,  and  the  method 
of  threading  the  whip-threads  in  the  doups  is  shown  arranged  for  three  successive  sets  (corres- 
pondingly to  fabric  sample)  in  diagram  Fig.  948.  The  same  reason  which  compelled  us,  in  plain 
gauze,  to  draw  each  pair  of  threads  (1  ground,  1  whip)  in  one  dent,  leaving  as  many  dents 
empty  between  the  threading  of  each  pair  of  warp-threads  as  required  by  the  size  of  the 
perforations  in  the  fabric,  requires  in  the  present  example  of  fancy  gauze,  Figs.  947  and  948, 
to  thread  each  set  of  1  whip-thread  and  3  ground-threads  in  one  dent,  leaving  as  many 
dents  empty  between  the  threading  of  each  set  as  required  by  the  size  of  perforations  wanted 
in  the  fabric. 

Fig.  949  illustrates  the  harness-chain  necessary  for  weaving  the  present 
explained  fabric  of  fancy  gauze  (Fig.  947.) 

The  next  plan  for  constructing  fancy  gauze  fabrics  is  to  use  two 
doups  in  connection  with  four  or  more  ground  harness.  In  this  manner 
fabric  sample,  Fig.  950,  is  constructed.  Fig.  951  represents  the  drawing  in  of 
ground  harness  and  the  threading  of  the  doups.  In  the  same  we  find  two 
sections  ground  harnesses  I  and  2,  with  doup  informing  section  I ;  ground 
harnesses  3  and  4,  with  doup  2' ',  forming  section  2. 


^2 
CO 

-6 

>- 
8 
-6 

a 

1 

0 
J- 

0 

1 

CO 

3- 

X 

X 

X 

X 

X 

3*'  - 

X 

X 

X 

• 

X 

<> 

1*  • 

233 


In  drawing  in  and  threading  doups  we  arranged  two  repeats  for  each  section,  thus  8 
warp-threads  in  repeat  of  arrangement  of  pattern.  This  method  of  drawing  in  ground  harness 
as  well  as  threading  of  doups  will,  as  shown  in  the  fabric  sample,  allow  us  to  operate  each  section 


u 

St.  1  )  

\> 

I 
<^ 

li 

5 
< 

V 

O 

1 

I 

i 

» 

<> 

X 

* 

•X 

3K  •■ 

« 

X 

X 

* 

X 

1*  . 

Fig.  950. 


Fig.  952. 


independent  of  the  other,  thus  forming,  by  arranging  the  douping  for  each  set  for  different 
picks,  additional  figures  in  the  fabric. 

Fig.  952  illustrates  the  harness-chain  for  fabric  and  drawing-in  draft,  just  explained. 


Fig.  954- 


*      Fig.  953. 


Fig.  956. 


H    Fig.  955. 


In  diagram  Fig.  953  the  plan  of  another  fancy  gauze  fabric,  produced  with  two  doups,  is 
shown.  Fig.  954  illustrates  the  method  of  drawing  in  the  ground-harness  and  the  threading  of 
the  doups,  which  in  the  present  example  is  a  right-handed  and  a  left-handed  doup  for  each  set. 


tCTT 


Fig.  957.  Fig.  958. 

Four  ground-harness  are  used  in  connection  with  the  two  doups.  Ground-harness  1  and  2  (A) 
and  doup  i'  (B)  equal  1st  set;  ground-harness  3  and  4  (A)  and  doup  2'  (B)  equal  2d  set. 

Fig.  955  illustrates  another  fancy  gauze  fabric,  produced  with  two  sets  of  doups  and  upon  a 
general  arrangement  in  two  sections. 


234 


Fig.  956  shows  the  general  arrangement  for  drawing  in  ground-harness  set  as  well  as  the 
threading  of  the  doups.  Four  ground-harnesses  are  used  in  connection  with  the  two  doups. 
Ground-harness  1  and  2  (A)  and  doup  i'  (B)  equal  1st  set;  ground-harness  3  and  4  (A)  and 
doup  2'  (B)  equal  2d  set. 

Fig.  957  illustrates  the  harness-chain  for  the  fabric  and  drawing-in  draft  just  explained. 


Fig.  958  illustrates  the  plan  of  another  fancy  gauze  fabric,  constructed  after  the  foregoing 
example,  using  only  warp  threads  I,  2,  5  and  6  from  the  latter  (955). 
Diagram  Fig.  959  illustrates  the  plan  of  another  fancy  gauze  fabric. 

Fig.  960  illustrates  the  corresponding  drawing  in  of  warp  in  ground-harness  and  the  thread- 
ing of  the  whip-threads  in  two  doups  (V  and  2r), 


c  c 
 ^  b  a  b  a  ,  *■ 


-v  'ba     ba     ba     ba   y  r 

c  c 


Fig.  961  shows  the  harness-chain  required  for  weaving  the  fabric  shown  in  Fig.  959. 

The  " two-section"  arrangement,  as  explained  and  illustrated,  can  be  extended  to  three,  four 
or  more  sections,  and  in  this  manner  giving  fancy  effects  to  an  unlimited  number  of  designs. 

A  further  step  in  producing  figured  gauze  is  the  combining  of  gauze  and  ordinary  weaving 
in  the  form  of  stripes    After  using  a  certain  number  of  warp-threads,  drawn  in  its  own  separate 


235 


set  of  harness,  for  interlacing  with  the  filling  either  on  plain,  twill  or  satin,  or  in  a  combination  of 
all  three,  use  similar  effects  as  previously  illustrated  and  explained,  either  with  one,  two  or  more 
differently  working  doups,  left  or  right-hand  twisting,  or  all  the  effects  combined.  This  method 
of  combining  stripes  of  gauze  with  ordinary  woven  cloth  will  also  afford  great  scope  for  producing 
figured  effects  through  alternately  exchanging  both  systems  of  weaving  warp  and  filling  ways. 

Design  Fig.  962  illustrates  such  a  stripe  effect  in  a  fabric.  Fig.  963  shows  the  corresponding 
drawing-in  draft  and  threading  of  the  doups.    Warp-threads  indicated  by  a  (light)  are  the  <n-ound- 


ii  Hfiii  nmififiiirifl 


■  11111 

■  nm 

■  ■■■■■ 

■  ■■■■■ 

■  ■■■■■ 

■  Mill 

iimr, 

■  mp;y 

■  wis. A 
p\.4im 
,\*sM*tm 

M  ■■■■■ 


■  nr«  4 

■  r;\!i  ■ 

1 

s  jiiii  ■ 

A  ■■■■■  I 

■  ■■■■■■ 
■■■■■■■ 

■  ■■■■■  ■ 


1111  i  mil  1  liiii  ;inii  . 
1111  1  iiiii  -  mil .  liiii  1 
m  1^  liiii.  liiii  iiiiiii 


nuuiiuunuun 


Fig.  965. 


Fig.  966. 


h.  a.   1.  n: 


threads,  and  warp-threads  indicated  by  b  (shaded  in  vertical  direction)  are  the  whip-threads  for 
the  gauze;  warp-threads  indicated  by  c  (shaded  in  diagonal  direction)  are  the  threads  for  pro- 
ducing the  ordinary  cloth  (plain  weave  in  present  example).  The  drawing-in  draft  shows  three 
different  sets  of  harness  used. 

The  set  indicated  by  A  represents  the  ground-harness  set  for  the  gauze  part;  the  set  indicated 
by  B  represents  the  harness  for  raising  warp-threads  interlacing  in  the  ordinary  cloth;  the  set 
indicated  by  C  represents  the  douping  set  of  harness  for  producing  the  gauze  part. 

Fig.  964  represents  the  harness-chain  necessary  for  weaving  a  fabric  as  shown  in  Fig.  962. 

As  previously  mentioned,  figured  gauze  can  also  be  produced  by  using  two  whip-threads 
against  two  ground-threads,  thus  using  four  ground-harness  to  one  doup.  In  such  an  example 
all  four  threads  must  be  drawn  in  one  dent. 


HI 


)  For  ordinary 
5  weaving. 

—  Doup  2  ....  2^ 

—  Doup  1'.  .   .  1' 


Fig.  967. 

Diagram  Fig.  965  illustrates  a  drawing-in  draft  arranged  in  this  manner,  and  Fig.  966  shows 
a  corresponding  fabric. 

The  interlacing  of  the  plain  for  the  ordinary  interwoven  part  of  the  fabric  can  in  this  example 
be  extended  to  any  figured  weave  up  to  16-harness.  Four  independent  sets  of  doups  are  made 
use  of  and  so  the  douping  can  be  correspondingly  arranged  on  each  pick  at  will  for  each  indi- 
vidual doup. 

By  arranging  the  present  style  of  drawing  in  ground  harness  and  threading  of  doup  for  a 


236 


"sectional  repeat  effect"  (repeat  the  drawing  in  and  threading  of  doup  of  each  four  warp-threads 
two,  three  or  more  times  before  changing  to  the  next  four  warp  threads)  novel  effects  for  fancy 
gauze  fabrics  may  readily  be  obtained  (with  a  correspondingly  large  figure). 

Fig.  967  illustrates  the  drawing-in  draft  for  a 
figured  gauze  on  two  sets  (for  illustrating  previously 
mentioned  section  draws)  having  four  ground  harness 
and  one  doup  for  each  set  (nine  repeats  in  each  set). 
These  two  sets  are  also  separated  by  three  warp-threads 
arranged  for  ordinary  weaving,  the  centre  thread  of 
which  is  indicated  as  a  cord  (or  a  heavy  thread,  pre- 
ferably of  a  different  color). 

If  weaving  for  a  certain  number  of  picks  or- 
dinary cloth  (plain)  with  set  No.  1,  and  next  gauze 
with  set  No.  2,  changing  again  afterward,  thus  ar- 
ranging for  an  equal  number  of  picks,  set  No.  1  for 
gauze  and  No.  2  for  ordinary  cloth  (plain),  also 
separating  each  of  these  two  changes  by  a  few  picks 
ordinary  woven  cloth,  inserting  in  their  centre  a 
heavy  filling  (similar  to  cord   in  warp),  we  get  a 

checker-board  effect  for  design  composed 
weaving  as  shown  in  diagram  Fig.  968. 

In  reeding  the  warp  for  example  Fig.  967,  leave  one,  two  or  more 
dents  empty  between  each  four  threads  (of  two  whip  and  two  ground) ; 
again,  when  reaching  the  three  ordinary  weaving  threads,  place 
the  cord  in  a  separate  dent  and  each  of  the  other  two  ordinary 
weaving  threads  in  the  dent  as  situated  on  each  side  and  which 
is  occupied  by  the  set  of  four  threads  for  gauze  weaving.  For 
example,  if  arranging  the  reeding  of  the  warp,  one  dent  taken 
to  alternate  with  one  dent  left  empty  all  over  the  regular  work,  we 
find  the  reeding  at  the  part  where  the  cord  comes  in  arranged  as 
follows : 


IHCord. 
ID 


Fig.  968. 

of  ordinary  and  gauze 


1  ■  ■  ■■  ■  ■ 
■■■  ■  ■  ■  1 
■■■   ■       ■  ■ 

■  ! 

I  ■  I  ■  ".       ■  ■ 
I.  ■  ■  I    ■■■  ■ 
IBB    BB  B  B 

IBB   ■  .  "  1:  .LB'  ■  1 

nninnDDDiQi 
□□B!  a  . 1 


2nd  Slackener. 


a  a    1  1 

B   B    B  ..  BBB:  B.  I 

B    B      B  MB    B.  B. 

BBB    B  B   B  1 

mam    i   a  a 

BBB    B  B  B 

b  mr:  m  bb  b  b 

B    ■    B  BBB    fl  ' 

B   B~     B  II    I  H 

BBS    B  B   B  1 

BBB      B  '     B  B 

BBB   B  .  B  B 

B   B      B  BB    m  B 

B    ■    B  .  .    BBB1  B  ') 

BBB  BB.  S  B 

B   B    B    B  B   B  B 


I 

ICCord. 


4—0—4 — o — 5  (4  +  1)  — 1  (cord)  — 5  (4  +  1)  —0—4 — 0—4.  m-> 


DC 


Fig.  969  illustrates  a  specimen  of  a  harness  chain  for  weaving 
the  present  example  of  fancy  gauze.  In  the  same  we  find  two  slack- 
eners  used. 

1st  slackener  to  lower  its  whip-threads  on  picks  8,  9,  10 — 14,  15, 

1 6 — 20,  21,  22- -26,  27,  28. 

2nd  slackener  to  lower  its  whip-threads  on  picks  44,  45,  46 — 50, 
51, 52—56,  57,  58—62,  63,  64. 

In  the  beginning  of  our  chapter  on  gauze  we  gave  the  princi- 
ple of  a  slackener  or  easer.  We  would  only  state  now  that  for 
every  set  of  doups  which  operate  the  whip-threads  at  different 
picks  when  done  on  any  previous  set  of  doups  in  the  same  fabric, 
we  must  use  a  separate  slackener ;  thus  in  the  examples  explained 
as  constructed  on  two  sections,  we  must  use  two  slackeners.  This 
method  of  using  more  than  one  slackener  is  increased  in  practical  work,  when  required,  up  to 
three  but  seldom  to  four. 

Diagrams  Figs.  gyoa  and  970$  illustrate  figured  gauze  effects  as  produced  by  harness  work. 


Harness-chain  for  14-harness  ; 

72  picks. 

Fig.  969. 


237 


Gauze  Weaving  Mechanism  for  Open-Shed  Looms. 

Until  lately  gauze  fabrics,  as  thus  far  explained,  have  been  produced  only  upon  looms 
constructed  after  the  principle  known  as  the  "single-acting"  method,  which  is  characterized  by 


Fig.  97o#. 


leveling  the  entire  warp  at  every  pick,  and  at  this  leveling  point  cross  the  warps  so  as  to  produce 
the  twist.  It  will  be  proper  to  mention  that  this  single-acting  method  for  operating  the  warp- 
threads  only  allows  a  moderate  speed  which  at  the  present  time  is  insufficient  for  the  requirements 
of  a  loom ;  hence  every  manufacturer  of  this  class  of  fabrics  has  been  anxiously  awaiting  for 


Fig.  970^. 


a  method  by  which  gauze  weaving  can  be  successfully  executed  upon  looms  built  after  the 
principle  known  as  the  double-action,  giving  an  increased  speed  at  which  the  loom  can  be 
operated.    This  gain  of  speed  is  owing  to  the  ability  of  the  double-acting  loom  to  select  and 


238 


withhold  certain  warp-threads  for  a  certain  number  of  succeeding  picks  of  the  shuttle,  as  the 
pattern  being  worked  may  demand. 

However,  the  construction  of  the  double-acting  loom  heretofore  employed  did  not  permit  of 
its  weaving  gauze,  because  of  the  inability  of  the  loom  to  operate  a  warp-thread  so  as  to  raise  it 
for  one  pick  of  the  shuttle,  and  then  after  that  pick,  lower  it  and  raise  it  again  before  the  suc- 
ceeding pick. 

The  Geo.  W.  Stafford  Manufacturing  Co.,  Providence,  R.  I.,  are  now  building  a  Double- 
Action  Dobbie  which  overcomes  this  defect ;  hence  is  capable  of  weaving  gauze  with  the  character- 
istic high  speed  of  the  latter.  This  is  due  to  the  fact  that  the  double-acting  loom  is  adapted  to 
raise  a  warp  for  one  pick  of  the  shuttle,  and  then  after  that  pick  lower  and  raise  it  again  before 
the  succeeding  pick.  The  new  features  of  the  Dobbie,  as  thus  built  by  the  Stafford  Manufactur- 
ing Co.,  are  the  combining  of  the  ordinary  full  motions  of  the  recurrent  or  reciprocating  harnesses 
with  a  novel  and  peculiar  "  Jialf-and-rettirn  "  motion  of  others  of  the  harnesses  when  so  desired. 
To  gain  the  u  lialf-and-return"  motion  they  use  an  extra  half-stroke  lifter  (knife),  which  has  half 


Fig.  971.  Fig.  971*:. 


the  limit  of  traverse  that  the  ordinary  lifters  have.  The  half-stroke  lifter  has  suitable  jacks 
engaging  therewith,  which  are  jointed  in  the  common  manner  with  a  connecter  co-operating  with 
an  operating  lever. 

The  half-stroke  lifter  is  reciprocated  by  a  peculiar  half-motion  device.  A  second  "  Jialf-and- 
return  "  motion  for  certain  other  harness  is  obtained  by  the  arrangement  of  a  pair  of  ordinary 
operating  levers  with  connections  to  a  single  harness  controlled  by  the  levers  working  simultane- 
ously and  oppositely  or  singly.  To  give  a  proper  understanding  of  the  subject  Figs.  971,  971*2, 
971^,  gyic,  97 1  d  and  971^  have  been  designed. 

Fig.  971  represents  a  rear  view  of  the  head  or  end  of  the  loom  containing  the  harness-operat- 
ing mechanism.  The  same  also  shows  the  full  and  half-stroke  lifters  as  at  their  midway  points 
of  travel,  and  the  co-acting  jacks  and  conjoined  parts  according  to  their  relative  positions. 

Fig.  971*2  is  a  view  of  the  double-hooked  jack  detached. 

Figs.  971$,  9J\c,9J\d  and  gyie  illustrate  four  successive  relative  positions  of  the  harness  and 
harness-operating  levers  as  they  occur  in  the  weaving  according  to  the  present  explained 
method  (plain  or  gauze). 


239 


The  parts  indicated  D  and  C  are  portions  of  harness-frames  provided  with  single-eyed 
heddles  carrying  the  warps  m  and  respectively.  These  frames  are  connected  by  the  respective 
cordings  d'  and  c\  with  their  operating-levers  d  and  c,  the  former  co-acting  with  full  stroke  lifters 
and  the  latter  with  the  full  and  half-stroke  lifters. 

The  standard  frame  B  is  provided  with  a  doup  heddle,  through  which  passes  one  side  of  the 
looped  cord  or  doup  ky  the  ends  of  which  are  attached  to  the  skeleton-harness  A.  Frame  B  is 
connected  with  lever  b  by  means  of  cording  //,  and  co-acts  with  full-stroke  lifters.  The  skeleton- 
harness  A  (shown  in  portion)  is  operated  by  the  half-motion  levers  a1  a2,  to  which  it  is  con- 
nected by  a  Y-shaped  connecting  strap  R,  both  forks  of  which  are  equal  and  connected,  one 
with  each  lever  a1  a2,  respectively,  and  its  stem  is  connected  with  the  skeleton  A.  The  harness- 
frames  B  and  D  make  full  straight-away  motions,  while  the  parts  A  and  C  make  half-and- 
return  motions,  and  are  also  capable  of  making  full  straight-away  motions.  These  parts  are 
thus  termed,  the  former  "full-motion  "  and  the  latter  "  half-and-return-motion  "  harnesses. 

Warp-thread  indicated  by  ;/  is  the  standard  warp  and  warp-thread  m  the  whip-thread. 


IMG.  971/; 


The  method  of  operation  for  producing  common  gauze  weaving  is  as  follows :  The  harness 
C,  carrying  the  standard  warp  n,  is  given  the  half-and-return-motion  in  order  to  carry  the  warp 
to  the  middle  lift,  where  the  descending  whip-thread  111  can  be  passed  under  warp  n,  which  then 
descends,  while  the  doup  k  raises  warp  m  to  form  the  upper  part,  while  the  warp  n  forms  the 
lower  part  of  the  shed  for  the  next  pick  of  the  shuttle. 

Referring  to  Fig.  gyib  suppose  this  position  is  the  first  position  before  starting  the  loom,  which 
may  be  supposed  to  have  been  previously  making  gauze  stitches,  and  which  came  to  a  rest,  while 
the  warps  were  partly  turned  on  themselves  for  the  next  twist.  In  this  position  all  the  harnesses 
A,  B,  C,  D,  are  low  and  the  whip-thread  and  standard-thread,  m  and  n,  are  leveled  and  crossed 
one  above  the  other,  before  being  twisted  in  the  formation  of  the  succeeding  gauze  stitch.  The 
levers  a!  a2  b  c  d  in  this  first  position  are  all  in  line  and  the  branches  of  the  forked  connections  are 
both  taut.  Position  of  Fig.  971^  is  produced  by  the  levers  a'  and  d  moving  to  the  outer  limit  on 
full-stroke  lifters  and  the  levers  a2  b  c  remaining  at  rest.  This  serves  to  raise  harness  A  and  D 
from  lowest  to  highest  limit.  By  this  shedding  movement  the  crossed  warps  have  been  tightly 
twisted  on  themselves,  and  the  shuttle  here  makes  a  pick  through  the  shed  and  interweaves  the 
filling  between  the  twisted  warps.  Position  Fig.  97 is  obtained  by  levers  a'  and*?2  moving  oppo- 
sitely on  full  motions — one  on  a  lifter  and  the  other  by  a  retracting-spring,  and  thereby  giving 
their  skeleton-shaft  A  a  half-and-return  motion;  also,  by  lever  b  moving  outwardly  on  a  full-stroke 
lifter,  and  accordingly  moving  the  standard  harness  B  from  low  to  high  limit  j  also,  by  lever  c 


240 


co-acting  with  the  half-stroke  lifter  and  imparting  a  half-and-return  motion  to  its  frame  C\  also, 
by  the  lever  d  moving  inwardly  a  full  motion  by  means  of  a  retracting-spring,  and  imparting  a  like 
motion  to  its  upper  warp-frame,  D,  which  moves  accordingly  from  high  to  low  limit.  During  this 
change  of  position  the  warps  have  been  crossed  and  twisted  on  themselves,  forming  a  gauze  stitch, 
and  then  the  shuttle  picks  and  lays  the  filling.  The  next  and  fourth  position  of  Fig.  gyie  is  ar- 
rived at  by  levers  d  and  a'  remaining  at  rest,  while  a2  and  b  are  moved  in  by  virtue  of  their  respec- 
tive retracting-springs,  and  c  is  carried  out  on  a  full  motion  by  virtue  of  its  jack  co-acting  with  a 
full-stroke  lifter.  These  movements  have  caused  the  doup-frame  and  harnesses  A  and  B  to 
descend  from  high  to  low  limit,  frame  C  to  rise  from  low  to  high  limit,  and  frame  D  to  remain  at 
rest  at  low  limit.  In  this  change  of  position  the  warps  have  not  been  twisted,  but  merely  crossed 
side  by  side,  as  in  plain  weaving,  and  in  this  position  of  Fig.  971^  the  shuttle  picks  and  interweaves 
the  filling.  This  position  now  changes  the  position  of  the  upper  and  under  warps  (standard  and 
warp-threads)  reversely  relative  to  the  filling. 

From  the  position  of  Fig.  971^  the  changes  may  be  made,  according  to  the  pattern  desired, 
into  a  series  of  succeeding  similar  positions,  and  thus  make  more  plain  weaving-stitches,  or  it  may 
be  changed  back  to  the  second  position  of  Fig.  971c  and  repeat  the  described  gauze  pattern. 

In  Fig.  971/"  we  show  the  (upright  lever)  double  action  dobbie  as  built  by  the  Geo.  W. 
Stafford  Manufacturing  Company,  to  which  the  present  explained  mode  of  weaving  gauze  fabrics 
applies. 

Jacquard  Gauze. 

In  gauze  fabrics  constructed  upon  the  Jacquard  loom,  in  which  it  is  desired  to  produce  large 
and  elaborate  designs  by  the  aid  of  figuring  gauze  and  ordinary  weaving,  it  will  be  necessary  to 
arrange  a  slackener  for  every  whip-thread. 

a[]  ttl?  ,C  «L        ttlr  c.  d 


a  V  c  6L       a.  V  c  d. 


Fig.  975.    Fig.  976.  Fig.  979.    Fig.  980. 

[In  my  treatise  on  "The  Jacquard  Machine,  Analyzed  and  Explained,"  etc.,  a  chapter  is 
entirely  devoted  to  the  method  of  operation  in  tying  up  looms  for  these  fabrics  as  well  as  the 
preparing  of  designs  for  the  latter  fabrics.] 

We  will  next  explain  the  method  of  operation  and  adjustment  of  slackeners  in  Jacquard 
fabrics  composed  of  threads  working  in  pairs  (one  whip-thread  douping  with  one  ground-thread). 


241 


In  such  fabrics  every  whip-thread  must  be  threaded  three  times;  first  in  a  heddle  in  rear  of  the 
regular  harness,  technically  known  as  the  "rear  heddle"  or  44  rear  harness."  These  heddles  have 
eyes  \%  inches  high  and  are  fastened  from  I      to  i><  inches  lower  than  the  heddles  of  the 

iNllll 


'\:  jjpHjl 

fiiiiljijiijiiitiiiiHlili'jiii;  ii^fijiifi 
T  PI  ill 

W>  MSI  Si 


I 


m  'i 

iii  ; 


mm 


fill 


III1"':   , t . • . < ' J / " ' M i a i . » •  •  s 


■lliftWiEilli^ 

y;i  l:;:;;i'ii!-i  i!  8« 


ill  ■ 
iiis|| 


'ifim''  ... 


Fig.  981. 


ill 

Slilllll 


MBS 


ground-harness  and  the  doup.  This  rear  harness  is  generally  placed  at  a  distance  of  8  to  10 
inches  from  the  ground-harness.  Each  rear  heddle  is  connected  by  means  of  a  harness-cord  for 
operating  the  corresponding  standard  heddle  of  the  doup  at  the  place  where  the  latter  joins  the 
neck-cords  of  the  Jacquard  machine  (thus  both  harness-cords  to  one  hook),  and  consequently  the 


Fig.  982. 

rear  heddle  will  lift  at  the  same  time  when  raising  the  standard,  and  thus  the  whip-thread  is 
"slackened"  from  the  rear  when  required  to  twist  around  the  ground-warp  when  douping. 

After  the  whip-thread  is  drawn  in  the  rear  heddle,  it  is  next  drawn  in  its  respective  heddle  of 
the  ground-harness,  from  where  it  is  threaded  to  the  doup. 


242 


In  diagram  Fig.  972  a  plan  of  the  entire  procedure  as  thus  far  explained  is  given. 

In  diagrams  Figs.  973  and  974  are  shown  the  ground  plans  of  threading  the  previously  ex- 
plained Jacquard  gauze.  Fig.  973  represents  the  threading  of  the  whip-thread  in  a  doup  situated 
at  the  left-hand  side  of  the  ground-thread  (pair).  Fig.  974  illustrates  a  respective  threading  of  the 
whip-thread  to  a  doup  situated  at  the  right-hand  side  of  the  ground-thread  (pair).  Both  positions 
of  doups  to  their  respective  ground  heddle  are  mentioned  as  considered  by  the  weaver  standing  at 
work  in  front  of  the  loom.  Letters  of  reference  are  selected  correspondingly:  R  =  rear-harness; 
G  =  ground-harness;  d—  heddle  for  ground-warp;  e  =  heddle  for  whip  thread ;  t  =  passing  of 
the  whip-threads  below  ground-warp;  D  —  doup-harness ;  /=  doup.  Whip-threads  are  shown 
in  full  black,  ground-threads  are  shown  outlined. 

Fig.  975  shows  the  corresponding  crossing  as  produced  in  the  fabric  by  using  the  arrange- 
ment illustrated  in  diagram  Fig,  973. 

Fig.  976  shows  the  corresponding  crossing  as  produced  in  the  fabric  by  using  the  arrange- 
ment illustrated  in  diagram  Fig.  974. 


Fig.  983.  Fig.  984. 


Diagrams  Figs.  977  and  978  illustrate  the  ground  plans  of  using  two  whip-threads  for 
douping  against  two  ground-threads.  The  following  letters  of  reference  are  selected  correspond- 
ingly: R  =  rear  harness;  G  =  ground-harness;  D=  doup-harness;  t—  passing  of  the  whip- 
threads  below  ground-threads;  /=  doup.  Threads  a  and  b  in  Fig.  977  =  ground  warp-threads; 
threads  c  and  d  in  Fig.  977  =  whip-threads.  In  diagram  Fig.  978  the  ground-threads  are  indi- 
cated by  letters  c  and  d  and  the  whip-threads  by  letters  a  and  b. 

Diagrams  Figs.  979  and  980  show  the  corresponding  crossings  as  produced  in  the  fabric  by 
the  respective  threadings  of  whip  and  ground-warp,  illustrated  in  diagrams  Figs.  977  and  978. 

Fig.  977  illustrates  the  threading  of  the  whip-threads  to  a  doup  situated  at  the  left-hand  side 
of  the  ground-threads.  Fig.  978  illustrates  the  threading  of  the  whip-threads  to  a  doup  situated 
at  the  right  hand  side  of  the  ground-threads. 

Figs.  981  and  982  illustrate  two  examples  of  Jacquard  gauze  produced  upon  principles  pre- 
viously explained. 

Substitutes  for  the  regular  doups  have  lately  been  patented  by  C.  A.  Littlefield,  consisting  of 
a  peculiar  combination  of  metallic  half-heddles. 


243 


Diagrams  Figs.  983,  984,  985,  986  and  987  illustrate  his  invention. 

F'g-  983  is  a  fr°nt  view  of  portions  of  a  set  of  heddle-frame  bars  with  the  invention  applied. 

Fig.  984  illustrates  a  vertical  section  of  the  bars  of  the  heddle  frame,  and  showing  the  posi- 
tion of  the  yarns  before  the  crossing  takes  place. 

Fig-  985  is  a  similar  view  showing  the  half-heddles  after  the  crossing  takes  place. 

Figs.  986  and  987  illustrate  a  modified  form  of  needle,  which  for  some  fabrics  are  preferable. 

The  present  method  of  cross-weaving  requires  three  common  harness-frames  for  each  set  of 
doups.  The  middle  frame  is  supplied  with  a  specially-shaped  half-heddle  or  needle  formed  of 
properly  twisted  wire  or  stamped  from  sheet  metal.  When  the  needle  or  half-heddle  is  made  of 
Avire,  the  latter  is  twisted  to  form  an  eye  at  the  top  end,  through  which  passes  the  thread  or 
threads  required  to  produce  the  desired  effect  in  the  pattern  woven.  Below  the  twist  which  forms 
the  eye  the  wires  are  separated  in  such  a  manner  as  to  form  a  continuous  slot  or  loop  from  near 
the  eye  to  a  point  at  or  near  the  lower  end,  where  the  half-heddle  is  formed  with  an  eye  or  loop 
adapted  to  receive  the  bar  upon  which  the  half-heddle  is  strung.  A  single  bar  only  is  used  for 
the  support  of  this  half-heddle.  Through  the  long  slot  or  loop  are  passed  other  loop  wires, 
forming  half-heddles,  there  being  two  of  this  description  to  each  one  of  the  first  named.  These 


Fig.  9S5.  Fig.  986.  Fig.  987. 


wires  are  secured,  one  on  the  right  the  other  on  the  left,  to  the  two  outside  heddle-frames  at  the 
top,  being  strung  on  the  ordinary  cross-bars  of  the  harness-frames,  the  latter  passing  through 
suitably-sized  loops  at  the  top  ends  of  the  looped  wires. 

To  produce  the  desired  pattern,  the  thread  which  is  to  be  twisted  or  crossed  about  its  adjacent 
thread  must  be  drawn  through  the  eye  at  the  top  of  the  lower  half-heddle,  and  the  thread  or 
threads  about  which  it  is  to  cross  are  to  be  drawn  in  between  the  two  upper  loops  or  half-heddles, 
and  in  line  with  the  thread  pass mg  through  the  lower  heddle-eye.  When  the  harnesses  are  at 
rest,  the  warp-line  is  established  so  as  to  bring  the  yarn  passing  through  the  lower  heddle-eye  to 
a  position  from  which  it  can  be  drawn  up  at  the  forming  of  the  shed  upon  the  desired  side  of  the 
yarn  about  which  it  is  to  be  turned  or  twisted.  The  crossing  is  effected  by  alternately  operating 
the  heddle-frames  to  which  the  upper  half-heddle  or  looped  wires  are  secured,  the  shed  being 
formed  by  lifting  the  harness  or  shaft  to  the  right  or  left  of  the  frame  to  which  the  half-heddles  or 
needles  are  secured  at  the  bottom.  The  upper  looped  wire  not  lifted  slides  easily  down  the 
long  slot  or  loop  in  the  lower  half-heddle,  the  latter  and  the  upper  half-heddle  to  which  the  lifting 
power  is  applied  being  drawn  into  line,  thus  forming  a  guide  for  deflecting  the  thread  about  which 
the  crossing  or  tie  is  formed  to  the  desired  side  of  the  needle  or  lower  half-heddle. 


244 


Cross-Weaving  for  Chenille  Fabrics. 


A  method  of  cross-weaving  other  than  the  one  derived  by  the  douping  arrangement  is 
largely  practised  in  the  manufacture  of  low-grade  Chenille  as  used  for  rugs,  mosquito-netting  and 
similar  fabrics. 

In  weaving  these  fabrics  the  ground-harness  set  and  the  douping  set  of  harness  are  substi- 
tuted by  using  two  horizontal  wooden  slats  (shafts)  of  a  sufficient  strength,  which  have  in  a 
vertical  position  metal  heddles  (harness  plates  or  needles)  inserted,  pointing  towards  each  other. 
These  harness  plates  are  made  of  thin  pieces  of  metal,  each  formed  with  an  eye  through  it  for 
the  warp-thread  (r  in  Fig.  988^)  and  each  beveled  at  its  end  near  the  eye,  as  shown  at  q,  in  the 
same  diagram,  to  form  an  angle  to  bring  the  passing  points  as  near  together  as  possible. 

The  eyes  q  are  formed  by  making  an  orifice  through  the  harness-plates  and  bending  the 
stock  on  each  side  of  the  orifice  in  opposite  directions,  so  as  to  permit  the  warp-threads  to  pass  in 
a  straight  line  through  the  eye,  and  so  that  there  will  be  but  little  friction  of  the  warp  in  the  eyes. 

In  Fig.  988^  a  front  elevation  of  those  parts  of  a  loom  essential  to  a  clear  understanding 
of  the  method  of  operation  for  these  fabrics,  is  shown.  (Warpbeam,  lay  and  shuttle-movement 
are  omitted.) 


Diagram  Fig.  988^  illustrates  a  transverse  sectional  view.  Letters  for  indicating  the  different 
parts  in  the  diagrams  are  selected  to  correspond. 

Diagram  Figs.  988*2, 988^,  988^,  illustrate  and  explain  the  loom  for  cross- weaving  as  patented 
by  Messrs.  G.  Oldham  and  Wm.  Dixon. 

The  frame  shown  is  composed  of  the  two  side  pieces,  base,  and  top  cross-piece,  on  the  under 
surface  of  which  latter  are  attached  brackets  for  the  roller,  over  which  the  cords  or  straps  pass, 
to  the  ends  of  which  cords  or  straps  the  heddle  shafts  are  attached.  They  are  guided  at  each  end 
by  staples  g  g,  passing  around  the  upright  rods  h  h}  and  are  adapted  to  be  alternately  reciprocated 
by  the  levers  i  z,  pivoted  to  the  base,  and  connected  to  the  heddles  by  the  connecting-rods  k  k. 
The  upright  rods  at  each  end  of  the  heddle-shafts  are  connected  together  at  their  upper  and  lower 
ends  by  plates  or  cross-pieces  /  /,  and  these  plates  or  cross-pieces  are  centrally  pivoted  to  the 
horizontal  supports  or  arms,  forming  in  this  instance  a  part  of  the  upright  plates  which  are 
secured  to  the  inner  surface  of  the  side  pieces  of  the  main  frame.  In  a  cross-brace,  0,  is  journaled 
the  horizontal  shaft  contiguous  to  one  of  the  plates  /,  which  shaft  is  formed  with  opposite  cams 
at  its  ends,  so  that  the  shaft  when  revolved  will  cause  the  cams  to  act  alternately  against  the  ends 
of  the  plate  /  and  vibrate  it,  and  through  it  and  the  rods  h  h  and  other  plates,  /,  reciprocate  the 
heddle-shafts  /  /  laterally  and  horizontally  at  the  same  time  they  are  reciprocated  vertically, 


Fig.  988a. 


Fig.  9886. 


Fig.  9S8C. 


245 


which  cause  the  harness-plates  to  cross  the  warp-threads  r  r  over  the  filling-threads  and  to  twist 
them  together  or  cross  them  between  the  filling-threads. 

The  cam-shaft  p  is  revolved  intermittently  by  the  ratchet-wheel  st  secured  to  one  end  of  the 
shaft,  and  the  pawl  s',  pivoted  to  the  plate  s2,  which  is  pivoted  at  one  end  upon  the  shaft  /  near 
the  ratchet-wheel  st  and  connected  at  its  other  end  to  the  plate  /,  attached  to  the  front  heddle- 
shaft,  so  the  up  and  down  movement  of  the  heddle  vibrates  the  plate  s2  and  causes  the  pawl  to 
turn  the  shaft  /  at  each  upward  movement  of  the  heddle.  The  plate  s2  is  connected  to  the  plate 
/,  in  this  instance,  by  the  pin  t'  entering  a  slot,  t2y  made  in  the  plate  t,  to  accommodate  the 
lateral  movement  of  the  heddle. 

Another  loom  for  weaving  this  chenille  as  used  for  rugs  and  curtains  has  lately  been  invented 
by  Messrs.  H.  &  C.  Topham.  Their  improved  method  of  operation  is  shown  in  diagrams  Figs. 
989^  and  989^  and  990*2,  990^  and  990^.  (Letters  of  reference  for  each  diagram  are  selected  to 
correspond.)  Diagram  Fig.  989^  represents  the  end  view  of  a  loom,  clearly  showing  its 
improvements.    Fig.  989^  is  a  longitudinal  section  in  the  line  1 — 2,  Fig.  989*2. 

Figs.  990*2,  990/?  and  990^  are  perspective  diagrams  (as  used  in  the  illustrations  of  their  inven- 
tion), showing  the  prongs  carrying  the  warp-threads  in  their  different  positions. 


Fig.  989a.  Fig.  9896. 


Referring  to  letters  of  reference:  A  A  are  the  side  frames  of  the  loom,  B  is  the  main  shaft 
and  C  the  crank-shaft,  D  is  the  lathe,  a  is  the  breastbeam  and  b  the  cloth-roller,  E  is  the  warp- 
beam,  e  the  warp-threads. 

On  the  two  upright  extensions  F  of  the  side  frames  is  a  rock-shaft,  G,  extending  from  one 
side  of  the  loom  to  the  other.  This  rock-shaft  carries  two  arms,  g  g,  having  at  their  outer  ends  a 
comb  Ht  provided  with  downwardly  projecting  prongs  //,  which  have  eyes,  i,  at  their  outer  ends, 
through  which  pass  one  set  of  warp-threads,  e.  Situated  below  the  rock-shaft  before  mentioned, 
but  having  its  bearings  in  the  same  upright  extensions  EE,  is  a  rock-shaft,  Jt  having  two  arms,//, 
which  carry  a  comb,  Kt  the  prongs  k  of  which  project  upward.  These  prongs  are  provided  with 
eyes,  /,  through  which  the  remaining  warp-threads  pass.  Rock-shafts  G  and  y  are  connected  in 
such  a  manner  that  when  the  comb  H  is  raised  the  comb  AT  is  lowered,  and  vice  versa. 

Rock-shaft  G  derives  its  motion  from  main  shaft  B,  as  clearly  shown  in  diagrams  Figs.  989a 
and  989^.  To  regulate  the  movement  of  the  comb  //'the  crank  q  is  slotted  and  carries  a  crank- 
pin,  u,  adapted  to  be  adjustably  secured  therein,  so  that  the  rod  g2  can  be  adjusted  either  on  the 
crank  q  or  arm  g' . 

The  lower  rock-shaft  J  has  also  an  independent  sidewise  movement,  so  that  the  prongs  of  the 
comb  AT  will  have  a  sidewise  motion  as  well  as  the  vertical  motion.  Motion  is  given  to  the  shaft 
J  by  a  cam,  S,  driven  from  the  main  shaft.  When  the  prongs  of  the  combs  are  parted  the  side- 
wise  movement  of  the  lower  comb  and  its  shaft  takes  place 


246 


The  operation  is  as  follows,  reference  being  made  to  Figs.  990*2,  990^  and  990^,  as  showing 
the  prongs  carrying  the  warp-threads  in  the  different  extreme  positions  during  weaving.  The 
eyes  in  the  ends  of  the  prongs  of  the  combs  are  threaded  with  the  warp-threads  e,  and  the  filling 
is  thrown  across,  as  shown  in  Fig.  990^,  while  the  combs  are  in  the  position  shown  in  that  figure. 
The  combs  are  then  parted,  as  shown  in  Fig.  990^,  which  will  tie  in  the  filling  previously  inserted. 
Another  pick  is  then  made,  as  shown  in  Fig.  990^,  after  which  a  sidewise  movement  is  given  to 
the  lower  comb,  which  causes  the  warp-threads  to  twist  around  each  other  when  the  combs  come 


Fig.  9900  Fig.  990^.  Fig.  990*;. 

together,  as  shown  in  Fig.  990^.  The  filling  is  then  pressed  towards  the  woven  part  of  the  fabric 
and  another  pick  is  made,  throwing  another  filling  across. 

Cross-weaving  as  Used  for  the  Manufacture  of  Filtering-bags. 

Another  kind  of  fabrics  (similar  to  those  previously  mentioned),  which  contain  the  cross- 
weaving  for  their  principle  of  construction,  are  those  open-mesh  seamless  fabrics  that  are  used  for 
filtering-bags  for  saccharine  liquids,  etc. 

Diagrams  Figs.  991,  992  and  993  are  given  to  illustrate  the  method  of  operation  for  produ- 
cing these  fabrics,  as  patented  by  B.  Muench. 


Fig.  991.  Fig.  992. 


Fig.  991  is  the  top  view  of  part  of  a  loom,  showing  the  fixed  and  reciprocating  frames;  one 
of  them  has  upwardly  projecting  needles  and  the  other  downwardly  projecting  needles. 

Figs.  992  and  993  are  cross-sectional  views  of  the  harness  part  of  the  loom,  showing  the 
warps  in  their  different  positions.  Letters  indicating  the  different  parts  in  the  diagrams  are  used 
with  reference  to  the  following  explanations  as  to  construction  of  these  fabrics. 

The  operation  is  as  follows:  Two  sets  of  warps,  op  and  m  n,  are  used,  one  set,  0  p,  being 
used  to  form  the  bottom  of  the  seamless  fabric  in  the  loom  and  the  set  m  n  to  form  the  top  of 
the  fabric;  the  same  filling  being  used  for  both  sets  of  warps.  The  warps  o  are  passed  through 
the  eyes  c  of  the  front  row  of  fixed  needles,  C,  which  project  downward.  The  warps  n  are  passed 


247 


through  the  eyes  c1  of  the  rear  row  of  fixed  needles  C\  which  project  upward.  The  warps  p  are 
passed  through  the  eyes /  of  the  needles  F  in  the  front  vertically-movable  frame  D,  said  needles 
F  projecting  upward,  and  the  warps  m  are  passed  through  the  eyes  /'  of  the  needles  F'  in  the 
rear  vertically-reciprocating  frame  D' ,  said  needles  projecting  downward.  The  warps  o  and  />, 
which  are  passed  through  the  eyes  of  the  needles  of  the  front  fixed  and  vertically-reciprocating 
bar  and  frame,  are  the  series  for  making  the  bottom  of  the  seamless  fabric,  and  the  warps  m  and 
which  are  passed  through  the  eyes  of  the  needles  in  the  rear  fixed  and  vertically-reciprocating 
bar  and  frame,  are  the  series  for  making  the  top  of  the  seamless  fabric.  As  shown  in  Fig.  992, 
the  warps  n  and  /  are  raised  and  the  warps  0  lowered.  The  shuttle  Wis  thrown  through  the 
space  between  the  warps  when  those  warps  are  in  the  positions  shown  in  Fig.  992,  and  when  the 
shuttle  has  passed,  the  filling  rests  on  top  of  and  across  the  warps  o.  After  the  shuttle  has  thus 
been  thrown,  the  warps  0  and  p  are  crossed  by  the  lowering  of  the  frames  D  and  D',  and  thus  the 
filling  is  held  by  warps  0  and  p  which  form  the  bottom  of  the  seamless  fabric.  When  the  warps 
are  in  the  position  shown  in  Fig.  993  (and  the  shuttle  thrown),  the  frames  D  and  D'  then  raised, 
the  warps  m  and  n  are  crossed,  and  the  filling  is  held  by  warps  m  and  n,  forming  the  top  of  the 
seamless  fabric,  and  so  on. 


Fig.  993. 


In  order  to  hold  warps  and  filling  in  the  position  in  relation  to  each  other  in  the  fabric,  it  is 
necessary  that  the  warps  be  twisted  after  each  shot.  This  twisting  is  obtained  by  reciprocating 
the  frames  E  and  FJ  laterally,  for  as  each  series  of  warps  has  part  of  its  warps  passed  through 
laterally-reciprocating  needles  it  is  evident  that  by  the  shifting  of  the  reciprocating  needles  such 
warps  will  become  twisted.  The  frame  D  is  shifted  every  time  the  filling  has  been  shot  between 
the  warps  0  and  and  the  frame  D'  is  shifted  every  time  the  filling  has  been  shot  between  the 
warps  m  and  n. 

Cross-Weaving  as  Used  for  Producing  Fast  Centre  Selvages. 

Cross-weaving  is  also  used  in  producing  fast  centre  selvages  if  weaving  two  or  more  pieces 
of  a  fabric  at  the  same  time  in  the  loom.  This  method  of  producing  such  selvages  finds  extensive 
use  in  the  manufacture  of  velvet  ribbons,  scarfs,  and  similar  fabrics  characterized  by  their  narrow- 
ness. In  dress  goods  and  similar  abrics,  seldom  more  than  two  or  three  widths  are  put  together 
to  be  woven  in  one  width  on  the  loom. 

In  reeding  for  fabrics  woven  with  fast  centre-selvages,  we  must  be  careful  to  leave  one,  two 
or  more  empty  dents  in  the  place  where  the  fabric  has  to  be  cut  in  strips,  or  separated  in  pieces 
after  leaving  the  loom. 

In  Diagrams  994  and  995,  two  specimens  of  such  interlacing  for  headings  are  shown.  In 
the  same  threads,  £,  shown  in  black,  represents  the  whip-threads.   Threads  C,  illustrated  outlined 


248 


•and  shaded,  represent  the  ground  warp.  Threads  indicated  A,  and  shown  outlined,  represent 
the  ordinary  woven  part  of  the  fabric.    The  filling  is  shown  outlined  in  a  horizontal  position  (D). 

Ground  warp-threads  Cand  corresponding  whip-thread  B  must  be  drawn  in  one  dent. 

In  Diagrams  Figs.  996,  997  and  998,  illustrations  are  given  of  the  weaving  of  such  fast  centre 
selvages  in  double  pile  fabrics,  woven  side  by  side  in  a  broad  loom.  The  method  of  operation  is 
patented  by  Messrs.  Lister  and  Reixach.  For  forming  two  adjacent  fast  inner  selvages,  both  in 
the  upper  and  lower  cloth  in  double-pile  fabrics,  and  so  as  to  form  the  upper  cloth  immediately 


Fig.  996. 


above  the  fast  selvages  in  the  lower  cloth,  two  sets  of  needles  of  two  needles  each  are  required. 
The  needles  in  the  upper  set  are  placed  in  a  line  with  the  needles  of  the  lower  set,  and  made  to 
point  downward,  while  those  in  the  lower  set  are  made  to  point  upward.  Both  sets  of  needles 
are  fixed  in  slides,  which  can  be  simultaneously  moved  up  or  down  in  a  fixed  frame.  The  needles, 
near  to  their  points,  have  eyes  formed  through  them,  and  through  the  eyes  of  the  upper  pair  the 
binding-threads  must  be  threaded  which  are  to  form  the  fast  selvages  in  the  upper  cloth,  and 
through  the  eyes  of  the  lower  pair  the  binding-threads  which  are  to  form  the  fast  selvages  in  the 
lower  cloth  must  be  threaded.    With  these  needles  there  are  also  employed  two  pairs  of  thread- 


249 


eyes,  to  which  a  lateral  movement  can  be  given  from  the  low  shaft.  Through  the  upper  pair  pass 
two  selvage-warps  for  the  upper  cloth,  and  through  the  lower  pair  two  selvage-warps  for  the  lower 
cloth.  These  two  pair  of  eyes  are  set  one  above  the  other  at  such  a  distance  apart  as  to  leave 
space  enough  for  a  shuttle  to  pass  to  and  fro  between  the  warps  threaded  through  them.  The 
points  of  the  upper  pair  of  needles  are  likewise  set  at  a  distance  from  the  points  of  the  lower  pair 
of  needles.  In  the  upward  and  downward  movement  of  the  needles  their  points  are  brought  alter- 
nately above  and  below  the  selvage  warp-threads  with  which  the  binding-threads,  threaded  through 


Fig.  997.  Fig.  998. 


the  needles,  are  to  be  crossed,  and  when  the  needles  are  at  one  or  the  other  end  of  their  stroke  the 
thread-eyes  are  made  to  shog  sidewise,  so  that  the  warp  binding-threads,  which  receive  an  up- 
and-down  motion,  may  be  brought  to  one  side  and  then  to  the  opposite  side  of  the  warps,  which 
receive  a  sidewise  movement,  and  the  binding-threads  and  warps  are  thus  twisted  together  with  a 
false  twist,  which,  in  conjunction  with  the  filling,  links  them  together  and  forms  a  fast  selvage. 

Fig.  996  illustrates  a  side  elevation  of  mechanism  required  to  be  used  with  a  single  shuttle-loom 
for  forming  the  fast  inner  selvages  in  the  two  cloths  of  a  double  pile  fabric,  showing  the  binding 
and  warp-threads  in  position  while  weaving  the  bottom  piece. 


250 


Fig.  997  is  a  side  elevation  corresponding  to  the  previous  one,  except  that  the  binding  and 
warp-threads  are  shown  in  position  while  weaving  the  top  piece. 

Fig.  998  is  a  side  elevation  of  the  selvage  forming  mechanism  for  a  two-shuttle  loom. 
Parts  of  the  framework  of  the  loom  are  illustrated,  cut  away  in  the  three  diagrams  to  show  the 
needles  more  clearly. 

In  Figs.  996  and  997  A  and  A1  are  selvage-warps,  which  are  drawn  from  a  reel  or  bobbin, 
B;  but  which  also  might  be  taken  from  the  same  beam  as  that  upon  which  the  other  selvage-warps 
are  carried,  or  from  the  main  warp-beam.  C  C1  are  the  binding-threads,  which  are  drawn  from 
a  reel  or  bobbin,  D.  The  warps  A  A1  are  threaded  through  the  thread-eyes,  to  which  a  sidewise 
shogging  movement  is  imparted.  The  binding-threads  C  C1  are  threaded  through  the  eyes  of  the 
needles,  to  which  an  up  and  down  movement  is  imparted. 

The  operation  is  as  follows:  When  the 
parts  are  in  the  position  shown  in  Fig.  996,  three 
picks  filling  are  put  into  the  bottom  cloth,  and 
the  thread-eyes  are  during  this  time  shogged 
sidewise  a  distance  equal  to  the  distance  between 
the  needles  of  each  pair.  Afterward  the  needles 
descend  and  three  picks  filling  are  put  into  the 
upper  cloth.  After  this  the  needles  rise  and 
three  picks  of  filling  are  put  into  the  bottom 
cloth,  and  during  this  time  the  thread-eyes  are 
shogged  back  into  their  former  position,  and  so 
on  continuously.  In  this  way  the  fast  selvage 
edges  are  formed  in  each  cloth  at  a  short  distance 
apart  from  one  another,  and  each  cloth  can  be 
severed  along  the  small  space  in  between  these 
two  selvage  edges. 

The  mechanism  shown  in  Fig.  998  for  a 
two-shuttle  loom  necessarily  differs  somewhat 
from  that  shown  in  Figs.  996  and  997,  because 
when  two  shuttles  are  thrown  simultaneously  it 
is  necessary  to  open  two  sheds  for  the  shuttles 
to  be  passed  through. 

THE  JACQUARD  MACHINE. 

The  Jacquard  machine  is  required  for  the 
interlacing  of  fabrics  in  which  a  great  number 
of  ends  of  warps  are  bound  differently  in  the 
filling.    Every  Jacquard  machine  can  be  divided  into  the  following  parts : 

I.  The  frame  and  the  perforated  board  through  which  the  neck-cords  are  passed.  2.  The 
griffe  and  the  necessary  attachments  for  lifting  the  same.  3.  The  hooks.  4.  The  needles. 
5.  The  spring  and  spring-frame.  6.  The  needle-board.  7.  The  cylinder,  hammer,  and  batten. 
8.  The  catches.    9.  The  cards.    10.  The  Jacquard  harness. 

In  Fig.  999  we  give  a  clear  understanding  of  the  principle  of  the  construction  of  a  Jacquard 
machine  by  means  of  the  sectional  cut  of  one  cross  row  in  a  200  Jacquard  machine,  containing 
8  hooks,  (representing  an  8-row-deep  machine),  illustrating  by  it  the  arrangement  of  hooks, 
needles,  griffebars,  springs,  frame  for  holding  the  latter,  and  the  needle-board,  e,  1st  hook;  f,  2d 
hook;  g,  3d  hook;  h>  4th  hook;  i,  5th  hook;  k,  6th  hook;  /,  7th  hook  ;  m,  8th  hook.  These 


251 


hooks  are  held  in  their  required  places  by  the  eyes  of  the  needles  (see  place  v  at  hook  i)  through 
which  the  former  are  passed. 

The  needles  rest  with'  their  heads  a  to  &,  in  the  needle-board,  extending  outside,  towards  the 
cylinder,  for  about  */2  inch.  The  rear  part  of  the  needle — the  loop — is  passed  between  two  bars 
of  the  spring-frame,  and  held  by  the  latter  firmly,  but  with  sufficient  play  for  a  longitudinal 
motion  for  pressing  towards  their  springs.  The  pin  0,  is  inserted  for  holding  the  springs  in  their 
places,  requiring  one  pin  for  each  vertical  row  of  needles.  If  the  heads  of  the  needles  are 
pushed  backwards,  in  the  direction  of  arrow,  the  hooks  are  also  moved.  If  the  needles  are  not 
pushed,  the  upper  crooks  of  the  hook  will  remain  in  position,  as  in  drawing,  over  the  griffebar ; 
and  raising  the  latter,  will  consequently  raise  every  one  of  these  hooks. 


1P      J  If  ''i      6 If  7i  81 

t. 

Fig.  iooo. 


Fig.  iooi. 

Therefore,  if  a  blank  card  is  pressed  against  the  208  needles  of  the  machine,  used  for  present 
illustration,  all  the  needles  and  hooks  will  be  pushed  back  out  of  the  way  of  contact  with  the 
griffebars,  thus  causing  an  empty  lift  when  they  are  raised ;  while  by  pressing  with  an  empty 
cylinder,  or  with  a  card  containing  as  many  holes  as  the  machine  has  needles,  and  so  placed  that 
the  holes  are  exactly  opposite  the  needles,  none  of  them  would  be  moved,  and  each  hook  would 
remain  vertical  over  its  griffebar;  and  raising  the  griffe  will  lift  every  hook. 

The  griffe  which  has  its  section  of  the  different  bars  represented  in  Fig.  1000,  is  shown  in  its 
top  view  in  Fig.  100 1.  In  the  drawing,  the  dark-shaded  places,  marked  ft  are  the  hollow  places 
through  which  the  screw  is  fastened  to  the  plunger. 


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Fig.  1002. 

The  cylinder  around  which  the  cards  are  working  (for  operating  the  needles  and  these  in 
turn  the  hooks,  neck-cords,  leashes  and  warp-threads)  is  carried  in  the  batten.  This  batten  has 
sufficient  vibratory  motion  to  enable  it  to  move  the  required  distance  away  from  the  needle-board. 
After  coming  in  contact  with  the  catch,  it  still  moves  until  the  cylinder  has  performed  a  complete 
turn.  The  cylinder  is  steadied  in  the  required  position  by  the  hammer  pressing,  by  means  of 
a  spring,  towards  the  lantern  from  below.  Fig.  1002  represents  the  cylinder  with  the  lantern  for 
turning  the  same,  by  means  of  the  catches  mentioned  before. 

The  raising  of  the  "  griffe,"  which  in  turn  also  operates  the  other  parts  of  the  Jacquard  machine, 
as  previously  explained,  is  generally  done  by  means  of  a  lever  arrangement.  Fig.  1003  represents 
the  perspective  view  of  a  400  single-acting  Jacquard  machine  (Shaum  &  Uhlinger,  Phila. ,  builders). 


252 


Fig.  1004  illustrates  the  "Rise  and  Drop  Shed  Jacquard  "  as  built  by  the  Knowles  Loom 
Works,  Worcester,  Mass.,  and  Providence,  R.  I.,  in  which  the  bottom  plate  descends  as  the  griffe 
rises,  thus  carrying  down  all  threads  that  are  not  raised  by  the  griffe,  to  form  the  bottom  of  the 

shed.  It  will  be  seen  that  the  griffe  has  to  lift 
but  half  as  far  as  on  the  ordinary  straight  lift  ma- 
chine, for  the  threads  that  descend  form  an  ap- 
proximate half  of  the  shed,  and,  also,  acting  as 
a  counterbalance  for  those  controlled  by  the  griffe, 
make  an  easy,  smooth-working  machine. 

The  special  feature  is  the  manner  in  which 
the  griffe  and  bottom  plate  are  operated,  for 
"rise  and  drop"  shed  Jacquard  machines  have 
been  built  before  this,  but  have  been  so  constructed 
that  the  bottom  plate  was  coming  up  at  the  same 
time  that  the  hooks  coming  down  with  the  griffe 
came  in  contact  with  it,  thus  striking  a  blow 
which  caused  rebounding  of  the  harness  and  al- 
Fig.  1003.  lowed  no  increase  of  speed. 

In  this  newer  form  of  machine  a  cam  is  employed  which  gives  a  dwell  to  the  bottom  plate 
while  the  griffe  is  continued  in  action,  so  that  the  griffe  starts  on 

the  upward  movement  be- 
fore the  bottom  plate  be- 
Si^^^l^Ete^^^^^^HfeA       &ms  ^°  descend,  and  on 
/(I  *^^^^B  IOf  return  uiotion  the  bot- 

tom plate  comes  to  rest 
before  the  hooks  coming 
down  with  the  increased 
speed.  Another  feature 
contained  in  this  machine 
is  the  forming  of  an 
angular  shed  which  is  of 
great  benefit  in  many 
Fig.  1005.  cases.  FlG-  IO°4- 

Fig.  1005  illustrates  the  Double  Cylinder  Jacquard  as  built  by  Messrs.  Henry  Riehl  &  Son, 
Philadelphia. 

The  Jacquard  Cards 

have,  for  regulating  the  required  raising  and  non-raising  of  the  hooks,  holes  punched  so  as  to 
allow  their  respective  needles  to  penetrate  into 
the  cylinder  holes,  and  are  interlaced  in  an 
endless  arrangement;  hence,  one  card  is 
brought  after  the  other  in  rotation  towards 
the  needles. 

If  using  a  great  number  of  cards  in  a  set, 
they  are  made  to  fold  into  a  "rack."  This  is 
done  by  attaching  a  wire  1  to  1^  inches  longer 

than  the  cards  at  the  junction  of  say  every  Fig.  1005^ 

twelfth  to  twentieth  card.    (See  c,  Fig.  1005*, 
between  cards  indicated  by  a  and  b.  ) 


Card  Stamping.* 

As  mentioned  previously,  holes  are  punched  in  each  individual  card,  according  to  the  design. 
This  is  done  for  each  row  at  one  stroke  or  revolution  of  the  piano-card-punching  machine. 

Fig.  1006  illustrates  the  perspective  view  of  the  Power  Piano  Machine  as  built  by  Messrs. 
John  Royle  &  Sons,  Paterson,  N.  J.,  while  Fig.  1006*  represents  the  top  view  of  the  "head" 
(cover  taken  off ) . 

In  the  same,  the  small  open  space  for  holding  the  punches  for  stamping  the  holes  in  the  cards 
for  the  needles,  as  well  as  the  large  opening  for  holding  the  punch  for  stamping  the  peg  holes,  are 
clearly  visible. 

This  Power  Piano  Machine  is  intended  to  increase  the  quantity  of  work  turned  out  by  doing 
away  with  the  hard,  physical  labor  heretofore  necessary  to  operate  one  of  these  machines. 

The  general  arrangement  of  the  cutting  section  is  the  same 
as  in  the  old  style  machines,  but  the  stroke  necessary  to  cut  the 
card  is  imparted  to  the  cutting  section  through  the  medium  of 
a  belt  and  fly  wheel,  so  arranged  as  to  be  entirely  under  the  con- 
trol of  the  operator. 

Card  Lacing 

is  now  mostly  done  by  machinery  ;  the  same  combining  in  one 
machine  the  functions  of  a  Peg  and  Lace  Hole  Cutter  and  Lacer. 
In  other  words,  a  pile  of  loose,  blank  cards  is  placed  in  the  machine, 


Fig.  1006. 


Fig.  1006*. 


which,  without  further  assistance,  automatically  punches  the  peg  and  lace  holes,  and  laces  and 
delivers  the  cards  ready  for  the 

Repeater. 

If  several  sets  of  cards  of  one  design  are  required  for  starting  a  corresponding  number  of 
looms,  and  the  first  set  has  been  produced  by  the  piano  machine,  exact  duplicates  can  be  obtained 
by  means  of  the  ' '  Repeating  Machine. ' '  In  this  machine  the  entire  card  is  duplicated  at  one  stroke. 

The  Jacquard  Harness. 

To  the  lower  end  of  the  hooks  in  the  Jacquard  machine  the  neck-cords  are  adjusted.  The 
latter  are  passed  separately  through  one  of  the  corresponding  holes  of  the  perforated  bottom  board. 
To  these  neck-cords  are  fastened  the  leashes  of  the  Jacquard  harness,  about  one-half  to  one  inch 
above  the  frame  containing  the  rods  which  guide  the  neck-rods  vertically,  as  the  hooks  are  raised 
and  lowered. 

The  different  harness-cords  are  threaded  through  the  "comber-board,"  or  the  "journals," 
in  various  ways,  and  are  called  "tie-ups."  After  the  harness-cords  are  threaded  the  heddles 
are  adjusted. 


*Ina  chapter  on  "  Preparing  and  Stamping  of  Jacquard  Cards,"  comprising  pages  85  to  102  of  the  author's 
treatise  on  "  The  Jacquard  Machine,"  a  thorough  and  complete  description,  conspicuously  illustrated  (45  illustra- 
tions), of  the  above  subject  will  be  found. 


254 


In  my  treatise,  already  alluded  to,  the  different  methods  of  "tying-up  of  Jacquard  harness" 
have  been  classified  as  follows: 
I. — Straight-through  tie-up. 

II. — Straight-through  tie-up  for  repeated  effects,  in  one  repeat  of  the  design. 

III.  — Straight-through  tie-up  of  Jacquard  loom,  having  front  harness  attached. 

IV.  — Centre  tie-up. 

V. — Straight-through  and  point  tie-ups  combined. 
VI. — Straight-through  tie-up  in  two  sections. 

VII. — Tying-up  a  Jacquard  harness  for  figuring  part  of  the  design  with  an  extra  warp. 
VIII. — Straight-through  tie-up  in  three  sections. 
IX. — Point  tie-up  in  three  sections. 
X. — Combination  tie-up  in  two  sections. 
XI. — Straight-through  tie-up  in  four  sections. 

XII.  — Tying-up  of  Jacquard  looms  with  compound  harness  attached. 

XIII.  — Tying-up  Jacquard  looms  for  gauze  fabrics. 
XIV — Tying-up  harness  for  carpets. 

Each  of  these  methods  of  tying-up  is  treated  in  a  thorough  manner  and  is  fully  illustrated 
by  over  one  hundred  special  illustrations. 

The  Comber-board  and  Methods  of  Figuring  for  it. 

The  comber-board  is  placed  in  the  Jacquard-loom  for  the  purpose  of  guiding  the  harness- 
cords  from  the  neck-cords  to  their 
respective  position  as  required  by  the 
fabric  for  operating  the  heddles  (to 
which  they  are  adjusted  on  their 
other  extreme  end.)  There  are  two 
kinds  of  comber-boards  in  use.  a. 
Comber-boards  made  of  a  solid  piece 
of  material,  either  wood  or  porcelain, 
or  constructed  by  using  wires  crossing 
each  other  and  adjusted  in  a  frame 
(see  Fig.  1007).  b.  Comber-boards 
made  in  strips  of  either  wood  or 
porcelain  and  adjusted  afterwards  in 
a  wooden  frame  (see  Figs.  1 007*2  and 
1007^). 

Comber- boards  Made  of  a  Solid  Piece  of  Material. 

Before  ordering  a  comber-board,  it  is  necessary  to  know  the  texture  of  the  fabric  in  the 
loom,  and  also  the  number  or  size  of  the  machine  to  be  used;  for  the  number  of  holes  per  inch 
in  the  comber-board  is  regulated  by  this.  Afterwards,  we  may,  if  we  choose,  arrange  the 
number  of  holes  in  depth  of  the  comber-board,  according  to  the  number  of  griffe-bars  in  the 
machine  (guided  by  the  fabric  to  be  made).  We  may  have  eight  griffe-bars  in  the  machine,  and 
arrange  the  comber-board  4,  6,  8,  10,  12  rows  deep;  or  we  may  have  12  griffe-bars  in  the 
machine,  and  arrange  the  comber-board  12,  10,  8,  6,  4  rows  deep. 

Rule  :  The  number  of  holes  to  one  inch  in  the  comber-board  must  equal  the  texture  of  the 
fabric  to  one  inch  in  loom. 

The  width  and  depth  of  the  comber-board  are  regulated  by  the  width  of  the  cloth  required 


Fig.  1007. 


255 


and  by  the  design  to  be  used.  The  greater  the  number  of  rows  in  depth  the  closer  they  must 
be;  the  same  is  true  of  the  width.  It  is  necessary  to  take  care  not  to  have  the  comber-board 
too  deep,  as  the  consequence  would  be  a  bad  shed ;  furthermore,  we  must  not  have  the  holes  too 
close  together,  as  in  a  high  texture  this  would  make  trouble  in  the  weaving  through  the  catch- 
ing- of  the  heddles  with  the  warp,  and  also  cause  useless  chafing  of  the  warp-threads  and  the 
heddles. 

The  Changing  of  Solid  Comber-boards  for  Different  Textures. 
In  Jacquard  work  we  generally  use  the  same  texture,  or  as  near  as  possible,  as  the  loom  is 
tied  up  for ;  but  changes  are  unavoidable.  If  we  must  reduce  the  texture  of  the  fabric  in  a  Jac- 
quard loom  tied  up  with  a  solid  comber-board,  we  must  also  reduce  proportionally  the  number  of 
hooks  and  needles  used  in  designing,  and  hence  the  number  of  heddles  used  per  inch.  These 
heddles  will  thus  be  left  empty  when  drawing  in  the  warp.  To  accomplish  this,  lift  the  full 
machine  and  throw  the  hooks  not  to  be  used  from  the  griffe-bars,  lowering  in  this  way  every  mail 
which  is  not  to  be  used.  Sometimes  there  may  be  only  one,  two,  three,  or  four  hooks  to  be 
thrown  off,  on  account  of  the  design.  At  other  times  it  may  be  necessary  that  one-eighth,  or  one- 
fourth,  or  even  one-half,  of  the  whole  number  shall  be  dropped  for  this  purpose. 

Comber-boards  Made  in  Strips  and  Adjusted  Aftenvards  in  a  Frame. 
By  these  comber-boards  which  are  used  to  a  great  advantage  on  narrow  loom  work  up  to 
36-inch  fabrics,  we  can  change  the  texture  for  the  fabric ;  for  the  strips  composing  the  comber- 

Fig.  1007a. 


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kA'A'A  **A'A44'  A  A  A  A  A  A 

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Fig.  10075. 


board  may  be  drawn  apart,  thus  changing  the  high  texture  to  lower.  To  give  a  clear  under- 
standing, Figs.  10070  and  1007^  are  given. 

Fig.  1007^  represents  an  8-row  deep  comber-board,  a,  b,  e,  d,  composed  of  10  strips  which 
are  set  close  together.  By  examining  each  strip  5  cross-rows  of  holes  will  be  found,  making  the 
whole  number  of  holes  400. 

Suppose  this  comber-board  is  intended  for  a  texture  of  100  ends  per  inch;  this  will  give  tor 
the  width  of  the  fabric  (shown  below,  i,  k  to  /,  m)  4  inches. 

In  Fio-  10070,  the  comber-board  is  arranged  for  a  texture  of  half  as  many  ends,  or  50  holes 
per  inch,  and  the  10  strips  are  arranged  accordingly;  the  empty  places  between  the  strips  are  of 
same  size  as  the  strips  themselves,  and  the  fabric  design  below  the  comber-board  is  arranged  to 
correspond. 


256 


GOBELIN  TAPESTRY. 

Tapestry  is  neither  real  weaving  nor  true  embroidering.  Though  wrought  upon  a  loom  and 
upon  a  warp  stretched  out  along  its  frame,  there  is  no  filling  thrown  across  the  threads  with  a 
shuttle,  but  the  filling  is  worked  with  many  short  threads  of  various  colors,  put  in  with  a  needle. 

Tapestry  runs  back  into  remote  antiquity.  The  Greeks  and  Romans  used  tapestry  for  cur- 
tains and  other  hangings;  and  the  use  of  it  for  like  purposes  was  common  throughout  Europe  in 
the  succeeding  ages.  "Arras"  was  the  usual  name  for  hangings  of  this  kind,  owing  to  the  excel- 
lence of  the  work  produced  in  that  town  in  England.  "French  tapestry"  has  long  been  famous 
also.  Francis  I.  brought  Flemish  workmen  to  Fontainebleau,  and  the  establishment  was  kept  up 
by  his  successors.  A  hundred  years  later,  Colbert,  the  celebrated  minister  to  Louis  XIV.,  took 
under  his  protection  a  manufactory  which  had  been  set  up  by  two  brothers,  of  the  name  of 
" Gobelin,"  originally  dyers;  and  in  a  very  short  time  the  productions  of  the  "Hotel  royal  des 
Gobelins"  were  universally  admired.  The  well-known  tapestry  which  for  many  generations  hung 
upon  the  walls  of  the  House  of  Lords,  London,  England,  and  which  were  destroyed  by  the  fire 

of  1834,  were  Flemish,  and  executed  in  the  reign  of 
Queen  Elizabeth  to  commemorate  the  destruction  of 
the  Spanish  Armada.  But  the  culminating  point  in 
the  history  of  tapestry  was  when  Rafaelle  was  employed 
to  make  the  designs  for  a  series  of  Scripture  subjects,  to 
be  hung  upon  the  walls  of  the  Sistine  chapel  in  Rome. 

Tapestry  work  is  the  most  costly  and  effective  of 
the  textile  manufacture.  We  will  next  explain  the 
method  of  operation  as  observed  in  the  manufacture  of 
these  fabrics  during  the  last  three  centuries.  (Older 
kinds  of  tapestries,  for  example  the  well-known 
"  Bayeux. tapestry"  were  wrought  by  the  needle  on  the 
surface  of  the  cloth  and  thus  are  actually  produced  by 
embroidering).  As  mentioned  before,  the  warp-threads 
are  stretched  in  a  frame  (loom)  in  a  vertical  position  for 
the  weavers.  The  method  of  interlacing  the  filling 
into  the  before  mentioned  warp  is  done  after  the  prin- 
ciple of  the  plain  weave  by  means  of  various  numbers 
of  colored  filling-threads  each  guided  by  a  needle. 
These  different  colors  of  filling  are  arranged  after  a  cer- 
tain design.  For  this  purpose  warp-threads  in  the  required  position  are  pulled  by  the  weaver 
towards  himself  with  one  hand,  and  with  the  other  hand  the  required  needle  (bobbin)  block  con- 
taining the  color  of  filling  as  called  for  by  the  design  is  inserted.  Supposing  in  the  present  example 
the  weaver  pulls  towards  himself  the  uneven  numbered  warp-threads  (1,3,  5,  etc.)  with  the  left  hand, 
and  inserts  the  block  containing  the  required  colored  thread  in  the  direction  from  left  to  right,  by 
means  of  the  right  hand.  Next  he  pulls  the  even  numbered  warp-threads  (2,4,  6,  etc.)  and  returns 
the  block  before  mentioned.  In  this  mannei  the  weaver  continues  to  entwine  one  color  until  a 
certain  part  of  the  design  requiring  this  color  is  finished.  He  takes  next  another  color  as  required 
by  the  design  and  finishes,  similar  to  the  before  explained  method,  any  place  where  this  color  is 
required.  In  this  manner  he  continues  to  treat  each  color  as  required  by  the  design.  The  beat- 
ing up  of  the  filling  so  inserted  is  done  by  means  of  a  comb.  Taking  the  fabric  into  consideration 
in  its  vertical  position  it  will  be  seen  that  there  is  no  interlacing  from  one  color  effect  to  the  other; 
therefore  these  effects  must  be  sewed  together  after  the  embroidering  is  done. 
Diagram  Fig.  1008  illustrates  the  method  of  operation  for  such  a  Gobelin. 


ANALYSIS  OF  THE  VARIOUS  TEXTILE  FABRICS  AND  CALCULATIONS 
NECESSARY  FOR  THEIR  MANUFACTURE. 

The  analysis  of  textile  fabrics  forms  a  prominent  part  of  the  knowledge  required  in  a  com- 
petent designer  and  manufacturer.  In  addition  to  theory  a  practical  experience  in  the  construc- 
tion of  the  various  fabrics  is  likewise  called  for.  Thorough  analysis  consists  not  only  in 
"picking  out"  the  arrangement  of  the  interlacing  of  warp  and  filling  (the  weave),  but  also  in  ascer- 
taining the  materials  of  which  both  systems  of  threads  are  composed,  the  process  such  raw 
materials  must  be  subjected  to  before  the  required  yarn  or  thread  is  produced,  necessary  for  the 
construction  of  the  fabric  on  the  loom,  as  also  the  various  processes  commonly  designated  as  finish- 
ing. 

The  analysis  of  a  fabric  is  not  always  required  for  duplicating  the  fabric,  as  in  some  in- 
stances it  has  for  its  main  object  only  one  of  the  previously  mentioned  points,  as  to  materials  used, 
amount  of  twist  in  yarn,  process  of  finishing  necessary,  etc.  But  whichever  special  point  is  re- 
quired to  be  ascertained,  or  should  a  complete  reproduction  of  a  given  sample  be  required,  it  is  al- 
ways best  to  have  a  clear  understanding  (or  analysis)  of  all  points.  For  example  :  A  knowledge 
of  the  weave  will  be  the  guide  for  a  special  analysis  as  to  the  materials  to  use — the  amount  of  twist 
to  put  into  the  yarn — or  the  finish  required,  for  the  harder  a  weave  "  takes  up"  the  stronger  the 
warp  yarn  must  be  (as  to  quality  of  material  to  use,  or  amount  of  twist  to  be  put  into  the  yarn) 
so  as  to  resist  the  amount  of  wear  incurred  during  the  weaving.  The  weave  employed  in  inter- 
lacing the  warp  and  filling,  and  the  raw  materials  used  in  the  manufacture  of  the  yarn,  will  influ- 
ence the  process  of  finishing  required,  etc. 

The  complete  analysis  of  textile  fabrics  can  thus  be  classified  under  the  following  eight  points: 
I.  Ascertaining  the  Weight  per  Yard  and  Ends  per  Inch  in  Warp  and  Filling  for  the  Fin- 
ished Fabric  from  a  Given  Sample. 

II.  Ascertaining  the  Weave. 

III.  Ascertaining  Raw  Materials  Used  in  the  Construction  of  Textile  Fabrics. 

IV.  Ascertaining  the  Texture  Required  in  Loom  for  a  Given  Fabric  Sample. 

V.  Ascertaining  the  Arrangement  of  Threads  in  a  Sample  according  to  their  Color  and 
Counts  for  the  Warp  and  Filling. 

VI.  Ascerta'ning  the  Sizes  of  the  Yarns,  or  their  Counts,  as  Necessary  to  be  Produced  for 
the  Reproduction  of  the  Given  Sample. 

VII.  Ascertaining  the  Weight  of  the  Cloth  per  Yard  from  the  Loom. 
VIII.  Ascertaining  the  Process  of  Finishing  Necessary,  and  Amount  of  Shrinkage  of  the 
Fabric  during  this  Process. 

These  eight  points,  when  carefully  considered,  will  in  most  cases  produce  the  required  object, 
"a  thorough  analysis  "  or  a  thorough  understanding  of  the  construction  of  the  fabric  with  which 
the  manufacturer  has  to  deal. 

I.    Ascertaining  the  Weight  per  yard  of  the  Finished  Fabric,  and  its  Finished  Texture 

(Ends  per  inch  in  Warp  and  Filling). 

Usually  the  sample  given  to  the  designer  for  analysis  is  less  in  length  than  one  yard  (of  the 
finished  fabric),  and  generally  narrower  than  the  finished  width  of  the  cloth  ;  oftentimes  only  one 
or  two  square  inches,  or  even  less,  being  furnished.    Should,  however,  one  or  more  yards  of  a 

(257) 


258 


fabric,  having  its  regular  width  be  given,  it  is  easy  for  the  designer  to  solve  the  question  by 
weighing  the  cloths  given  and  dividing  the  weight  thus  ascertained  by  the  number  of  yards  in 
the  sample.  The  result  will  be  the  weight  per  yard  of  the  finished  fabric.  But  when  the  size 
of  the  sample  submitted  is  small  (less  than  one  yard)  the  weight  per  yard  must  be  found  by 
figuring  in  proportions. 

Rule  for  Ascertaining  from  a  Small  Sample  {finished)  the  Weight  of  the  Fabric  in  Ounces  for  One 

Yard. 

Cut  your  sample  to  a  known  size,  and  divide  the  number  of  square  inches  thus  derived  into 
the  number  of  square  inches  which  one  yard  of  the  fabric  will  contain. 
1944  square  inches  f  wide  fabrics  =  54  inches  wide. 
972      "         "     I    "        "  27  " 

Multiply  the  result  with  the  weight  in  grains  of  your  sample  and  divide  the  product  by  437^4 
which  will  give  you  the  ounces  per  yard  for  the  fabric  in  question. 

For  example :  Suppose  you  have  a  f  wide  fabric.  The  sample  cut,  or  stamped,  with  a  die, 
3  inches  by  3  inches  equals  9  square  inches.  Suppose  the  weight  of  these  9  square  inches  is 
25  grains. 

Question:  Required  the  weight  in  ounces  of  one  yard  of  cloth,  being  f  wide? 
Anszver;  f  or  54  inches  wide  fabric  54  x  36  or  1944  square  inches. 

1944  -4-  9  =  216  X  25  =  5400  -r-  437.5  =  12.34  oz.;  thus  the  weight  of  the  fabric  is  12  oz. 
Another  example.     Take  a  f  wide  fabric.     The  sample  cut,  or  stamped  with  a  die  3  inches 
by  4  inches,  equals  12  square  inches.    Suppose  the  weight  of  these  12  square  inches  is  28  grains. 
Question :  Required  the  weight  in  ounces  of  one  yard  of  cloth  to  be  27  inches  wide. 
Answer :  27  inches  wide  fabric  —  27  x  36  or  972  square  inches. 
972  -f-  12  =  81  X  28  —  2268  -*-  437.5  =  5.18  oz.,  weight  of  fabric  per  yard. 


Table  for  Ascertaining  the  Number  of  Square  Inches  in  any  Fabric  with  a  Width  of  18  Inches 

to  54.  Inches. 


Width  of  Fabric 

Number  of 
square  inches 
in  one  yard. 

Width  of  Fabric 

Number  of 
square  inches 
in  one  yard. 

in  inches. 

in  inches. 

18 

648 

37- 

-332 

19 

684 

38. 

1368 

20 

720 

39* 

1404 

21 

756 

40. 

1440 

22 

792 

41. 

1476 

23 

828 

42. 

1512 

24 

864 

43- 

1543 

25 

900 

44- 

1584 

26 

936 

45- 

1620 

27 

972 

46. 

1656 

28 

1008 

47- 

1692 

29 

1044 

48. 

1728 

30 

1080 

49- 

1764 

3i 

1116 

50. 

1800 

32 

1 152 

5i. 

1836 

33 

1188 

52. 

1872 
1908 

34 

1224 

53- 

35 

1260 

54. 

1944 

36 

1296 

60. 

2160 

To  Ascertain  the  Finished  Texture  of  the  Submitted  Sample. 

For  this  purpose  unravel  a  few  ends  of  the  warp  and  filling  of  each  system  on  one  side  of 
the  sample,  and  count  the  number  of  threads  one  inch  contains  (in  each  system).    In  the  places 


259 


from  which  the  filling  has  been  extracted  the  texture  for  the  warp  will  be  found,  and  in  the  places 
from  which  the  warp-threads  have  been  drawn  the  filling  texture  will  be  found.  It  is  best  to 
ascertain  the  texture  for  each  system  of  threads  in  at  least  two  different  places,  so  that  if  found 
to  be  the  same  it  will  serve  as  a  test  for  correct  work.  If  found  not  to  correspond,  it  will  require 
a  third  counting  of  the  respective  threads  per  inch,  so  as  to  ascertain  which  of  the  two  previous 
countings  is  correct.  Fabrics  having  a  fancy  arrangement  with  regard  to  their  threads  frequently 
require  to  have  the  number  of  threads  ascertained  in  more  than  one  inch.  In  some  fabrics  the 
texture  must  be  found  by  counting  the  number  of  threads  in  one  repeat  of  the  pattern  and  then 
dividing  this  result  by  the  number  of  inches  these  threads  occupy  in  the  fabric. 

Example. — 180  threads  of  warp  in  one  repeat  of  the  pattern  occupy  3^  inches  space  in  the 
finished  fabric.  Question:  Find  the  texture  (average).  Ansivcr:  180  ■+■  3^  =  48  threads,  tex- 
ture of  warp  in  given  sample. 

II.  Ascertaining  the  Weave. 

This  part  of  the  analysis  of  a  fabric  is  based  first  of  all  upon  a  thorough  comprehension  of 
the  theory  of  constructing  the  various  weaves  for  single  cloth,  double  cloth,  etc.  It  also  requires, 
in  dealing  with  heavy  fulled  fabrics,  or  fabrics  having  the  face  filling  broken  during  the  process  of 
finishing,  a  considerable  amount  of  patience. 

Ascertaining  the  weave  implies  to  the  designer  that  he  is  to  solve  from  a  sample  the  manner 
in  which  both  systems  of  threads,  composing  the  fabric,  interlace  each  other,  and  this  is  techni- 
cally known  as  the  "picking-out"  process.  An  experienced  designer  will  in  most  cases  ascertain 
the  weave  necessary  for  producing  a  given  sample  by  a  mere  glance  at  it,  while  in  fabrics  having 
fine  counts  of  silk  or  cotton  yarn  the  microscope  will  assist  him  in  designating  the  weave  without 
"  picking-out."  But  as  such  skill  can  only  be  arrived  at  after  years  of  practice  and  experience  we 
will  define  the  " picking-out"  process  for  the  benefit  of  the  unskilled. 

If  it  is  required  to  ascertain  the  weave  in  a  fabric  having  a  nap  on  its  surface,  the  nap  must 
be  carefully  removed  by  singeing  it  off  by  holding  it  over  a  flame,  care  being  taken  not  to  burn 
the  threads.  Next  carefully  remove  the  burnt  refuse  adhering  to  the  structure  with  a  sharp  knife. 
(It  is  well  to  have  a  sharp  knife  or  razor  always  at  hand  for  this  purpose.) 

Always  endeavor  to  get  the  samples  for  "picking-out"  sufficiently  large,  containing  at  least 
two  or  three  repeats  of  the  weave,  warp  and  filling-ways,  in  excess  of  the  amount  of  cloth 
necessary  for  liberating  threads  in  each  system,  so  as  to  get  the  proper  starting-point  for  commen- 
cing to  pick-out.  If  a  sample  is  submitted  for  "picking-out"  which  does  not  contain  a  complete 
repeat  of  the  weave,  dissect  the  amount  on  hand  and  finish  the  complete  weave  in  accordance  with 
the  instructions  given  in  the  theory  of  constructing  weaves.  The  experienced  designer, 
when  he  gets  a  sample  for  dissection,  readily  understands  which  system  of  threads  are  the  warp 
and  which  the  filling,  but  to  the  inexperienced  this  will  prove  the  first  difficulty  which  will  have 
to  be  mastered.  To  aid  in  this  the  following  rules  are  given,  which  if  carefully  considered  (with 
reference  to  the  sample  given)  must  greatly  assist  the  novice  in  solving  the  problem. 

If  the  sample  submitted  for  "  picking-out "  contains  a  part  of  the  selvage,  the  latter  will 
readily  indicate  warp  from  filling,  for  the  selvage-threads  always  run  in  the  direction  of 
the  warp. 

If  the  threads  in  one  system  are  "harder"  twisted  than  in  the  other,  the  hard-twisted  threads 
are  generally  the  warp  system. 

If  the  sample  submitted  for  analyzing  has  what  is  technically  known  as  a  "face-finish" 
(kersey,  beaver,  doeskin,  broadcloth,  etc.),  the  direction  of  the  "  nap"  indicates  the  warp. 

The  "counts"  of  yarn  found  used  in  each  system  will  often  assist  in  ascertaining  which  is  the 
warp  and  which  is  the  filling,  for  in  most  instances  the  yarn  used  for  warp  is  of  a  finer  number 
than  the  filling. 


260 


If  the  fabric  has  cotton  yarn  for  one  system  of  threads  and  woolen  for  the  other  (as  in  union 
fabrics),  the  cotton  yarn  is  generally  the  warp  yarn. 

If  in  the  sample  submitted  for  analysis  the  one  system  of  threads  is  found  to  have  been  sized 
or  starched,  and  not  the  other,  the  former  is  the  warp. 

If  the  sample  contains  "reed  marks"  (or  im- 
perfections known  to  the  weaver  as  being  caused 
only  by  the  warp  system),  such  imperfections 
readily  characterize  the  respective  systems  of 
threads. 

Another  guide  for  distinguishing  the  warp 
from  the  filling  is  found  in  the  "style"  of  the 
respective  fabrics  submitted  for  "picking  out." 
In  fabrics  having  a  striped  character,  or  check 
effects  in  which  the  one  direction  of  the  lines  is 
prominent  compared  with  the  others,  the  direc- 
tion of  the  stripes,  or  the  prominent  lines  in 


Fig. 


the 


1009. 

indicate  the  warp  system. 


(face  filling  and  backing)  and  one  system  of 
backing,"  indicates  itself,  and  thus  the  system 


check 

In  fabrics  composed  of  two  systems  of  fillin 
warp,  the  heavy  and  soft-spun  filling,  known  as  the 
of  threads. 

Fabrics  are  generally  dissected  by  in- 
vestigating the  method  of  interlacing  the 
filling  into  the  warp;  some  fabrics  require 
their  weaves  to  be  dissected  by  ascertaining 
the  interlacing  of  successive  warp-threads 
in  the  filling,  such  as  the  corkscrews,  diago- 
nals and  similar  fabrics.  Weaves  in  pile 
fabrics,  such  as  velvets,  Astrakhans,  etc.,  are 
ascertained  the  quickest  by  analyzing  the 
body  structure. 

The  instrument  required  for  "picking 
out"  is  a  strong  needle  with  a  sharp  point. 
In  some  instances  the  microscope  is  found 
to  be  of  much  service.  The  work  of  picking 
out  a  sample  is  most  readily  accomplished 
by  proceeding  as  follows  :* 

Clear  off  the  nap  or  fibres  on  the  sur- 
face of  the  sample  as  previously  mentioned. 
In  fabrics  without  a  nap  this  is,  of  course, 
not  required.  Next  unravel  sufficient  filling 
on  top  of  the  fabric,  and  warp  on  the  left 
hand  side,  to  produce  two  fringed  edges  of 
say  about  %  to  y2  inch  in  length.  If  you 
should  desire  to  save,  from  the  sample  sub- 
mitted for  analysis,  as  much  as  possible, 
make  straight  cuts  with  the  scissors  at  a  distance  of  about  y2  to  ^  inches  from  where  you  want 
to  stop  dissecting  threads.  This  procedure  is  illustrated  by  diagram  Fig.  1009.  A-B-C-D,  sample 
submitted  for  "picking  out."    Arrow  0  direction  of  warp.    Arrow  Ol  direction  of  filling. 

*Use  picking  out  of  the  filling  from  the  structure  in  the  example  given  for  explanation. 


Fig. 


261 


The  cuts  in  the  fabric  are  shown  at  the  places  indicated  by  c  and  /  Letter  5  indicates  the 
place  where  the  first  warp-thread  and  the  first  pick  meet — the  point  for  commencing  to  44  pick-out." 

After  the  sample  is  prepared  according  to  the  illustration  just  given,  raise  the  first  pick  about 
Td  of  an  inch  with  the  "picking-out  needle."    See  Fig.  ioio. 

Place  the  sample  in  the  left  hand  as  shown  in  diagram  ioi  I,  next  ascertain  the  arrangement  of 
interlacing  pick  number  I,  warp-ways,  until  repeat  is  obtained. 

Every  time  a  warp-thread  is  found  situated 
above  the  filling,  put  a  corresponding  indication 
on  the  respective  square  of  the  designing  paper 
(with  pencil  marks  or  prick  holes  with  the 
needle),  whenever  you  find  the  filling  covering 
(floating  over)  one,  two  or  more  successive 
warp-threads,  leave  correspondingly  one,  two 
or  more  successive  squares  empty  in  the  lateral 
line  of  small  squares  upon  the  designing  paper. 

After  the  intersecting  of  number  I  pick 
has  been  clearly  ascertained  liberate  this  pick 
out  of  the  fringed  warp  edge  and  duplicate 
the  procedure  with  pick  number  2,  to  be  fol- 
lowed by  picks  3,  4,  5,  etc.,  until  the  repeat  is 
obtained.  If  dealing  with  a  soft-spun  filling 
yarn  be  careful  in  raising  it,  to  avoid  breaking 
the  thread ;  also  be  careful  that  after  the 
interlacing  of  the  pick  has  been  ascertained,  it 
is  entirely  removed  so  that  no  small  pieces  of  the  thread  remain  in  the  fringed  part  of  the  warp ; 
for  if  such  should  be  the  case  it  might  lead  to  mistakes  in  examining  the  next  adjoining  pick. 

III.  Ascertaining  Raw  Materials  Used  in  the  Construction  of  a  Fabric. 

In  most  cases  an  examination  of  the  threads  liberated  during  "picking-out"  with  the  naked 
eye  will  be  sufficient  to  distinguish  the  material  used  in  the  construction  of  the  fabric  yet  sometimes 
it  is  found  necessary  to  use  the  microscope  or  a  chemical  test  for  their  detection.  For  example  :  Tests 
might  be  required  to  show  whether  a  certain  thread  is  all  wool  or  whether  a  certain  thread  is 
all  silk,  etc.    For  solving  such  questions,  the  following  methods  are  given : 

A  common  and  ready  method  for  ascertaining  the  difference  between  animal  and  vegetable 
fibres  is  to  burn  some  of  the  threads  of  yarn  in  a  flame.  The  vegetable  fibre  is  composed  of 
carbon,  hydrogen  and  oxygen,  while  the  animal  fibre,  in  addition  to  these,  contains  nitrogen. 
By  burning, the  threads  used  in  testing  the  first  mentioned  fibre  will  result  in  carbonic  acid  and 
water,  while  those  of  the  latter,  or  ofanimal  fibre,  result  in  combinations  containing  nitrogen  which 
element  readily  makes  itself  known  by  its  peculiar  smell  or  disagreeable  odor  similar  to  burnt 
feathers.  Another  point  which  it  is  well  to  note  is  the  rapidity  with  which  the  thread  com- 
posed of  vegetable  origin  burns  as  compared  with  the  burning  of  the  thread  having  an  animal 
substance  for  its  basis.  In  the  latter  case,  only  a  little  bunch  of  porous  carbon  forms  itself  at  the 
end  submitted  to  the  flame,  and  it  does  not  form  a  flame  as  in  the  case  of  the  former.  As  in 
some  instances  these  two  tests  will  be  found  unreliable,  a  more  exact  analysis  maybe  required.  If 
so,  proceed  after  one  or  the  other  of  the  following  formulas : 

To  Detect  Cotton  or  other  Vegetable  Fibre  hi  Woolen  or  Silk  Fabrics. 

Boil  the  sample  to  be  tested  in  a  concentrated  solution  of  caustic  soda  or  potash,  and  the 
wool  or  silk  fibre  will  rapidly  dissolve,  producing  a  soapy  liquid.    The  cotton  or  other  vegetable 


262 

fibre  therein  will  remain  undisturbed,  even  though  boiling  in  weak  caustic  alkalies  for  several 
hours,  care  being  taken  to  keep  the  samples  below  the  surface  of  the  solution  during  the  opera- 
tion. If  during  this  steeping  process  it  is  exposed  to  the  air,  the  cotton  fibre  becomes  rotten, 
especially  when  the  exposed  portions  are  also  at  the  same  time  brought  under  the  influence  of 
steam.  (Any  cotton  fibres  remaining  from  the  testing,  if  colored,  may  be  bleached  in  chlorine 
water,  and  afterwards  dissolved  with  cupro-ammonia.) 

Prof.  E.  Kopp  gives  the  following  test :  "  Wool  is  only  soluble  in  cupro-ammonia  by  the 
aid  of  heat.  Concentrated  acids,  such  as  sulphuric,  nitric,  or  preferably  hydrochloric,  act  in  the 
cold  upon  silk,  but  not  on  wool.  The  dissolving  properties  of  cupro-ammonia  on  all  vegetable 
fibres,  make  it  one  of  the  most  reliable  of  tests.  Cupro-ammonia  is  prepared  by  suspending 
strips  of  copper  in  concentrated  ammonia  in  a  large  flask,  tightly  corked  and  occasionally  shaken, 
so  as  to  bring  the  metal  in  contact  with  the  oxygen  of  the  air.  By  degrees  a  tolerably  concen- 
trated solution  of  oxide  of  copper  in  ammonia  is  obtained  which  dissolves  cotton,  and  other 
vegetable  fibres,  leaving  animal  fibres  untouched." 

To  Detect  Silk  from  Wool  or  the  Vegetable  Fibres. 

Prof.  Hummel  gives  the  following  process  in  his  treatise  on  "The  Dyeing  of  Textile  Fabrics:" 
"  The  best  solvent  for  silk  is  an  alkaline  solution  of  copper  and  glycerine,  made  up  as  follows : 
Dissolve  1 6  grams  copper  sulphate  in  140-160  c.  c.  distilled  water,  and  add  8-10  grams  pure 
glycerine  (Sp.  Gr.  1.24) ;  a  solution  of  caustic  soda  has  to  be  dropped  gradually  into  the  mixture 
till  the  precipitate  at  first  formed  just  re-dissolves ;  excess  of  NaOH  must  be  avoided."  This 
solution  does  not  dissolve  either  wool  or  the  vegetable  fibres  and  thus  serves  as  a  distinguishing 
test. 

Still  another  method  is  given,  as  follows:  Concentrated  zinc  chloride,  1380  Tw.  (Sp.  Gr.  1.69) 
made  neutral  or  basic  by  boiling  with  excess  of  zinc  oxide,  dissolves  silk,  slowly  if  cold,  but  very 
rapidly  if  heated,  to  a  thick  gummy  liquid.  This  reagent  may  serve  to  separate  or  distinguish 
silk  from  wool  and  the  vegetable  fibres,  since  these  are  not  affected  by  it.  If  water  be  added  to 
the  zinc  chloride  solution  of  silk,  the  latter  is  thrown  down  as  a  flocculent  precipitate.  Dried  at 
2300  to  23 50  F  the  precipitate  acquires  a  vitreous  aspect,  and  is  no  longer  soluble  in  ammonia. 

Rules  for  Arranging  the  Fabric  to  be  Tested  and  Methods  for  Ascertaining  the 
Various  Percentages  of  Each  Fibre  Composing  the  Thread  or  Woven  Cloth. 

Cut  the  sample  to  be  tested  to  a  known  size  with  a  sharp  pair  of  scissors,  or  stamp  out  the  de- 
sired quantity  with  a  die,  of  which  you  know  the  exact  size.  Always  use  the  largest  sample  avail- 
able and  be  very  accurate  in  cutting  to  measure.  Next  weigh  the  sample  upon  a  scale  (of  great  ac- 
curacy) and  make  a  careful  memorandum  of  its  weight;  then  submit  the  sample  to  one  of  the 
above  mentioned  tests  (adapted  to  the  material  to  be  tested),  and  dry  the  remaining  fibre.  Weigh 
the  latter  after  thoroughly  dry  and  deduct  the  weight  from  the  gross  weight  previously  obtained. 
The  remainder  will  represent  the  weight  of  the  fibre  dissolved  by  the  test. 

"  The  amount  of  each  kind  of  fibre  in  sample  is  in  proportion  to  the  percentage  of  each  fibre 
in  a  full  piece  of  cloth!' 

Example  :  Required  to  ascertain  percentage  of  cotton  and  wool  fibres  in  a  fabric. 

Sample  stamped  with  a  die  2X4  inches  =  8  square  inches  weighs  24  grains.  Suppose 
the  u  caustic  soda"  process  for  testing  is  used  and  the  refuse  of  cotton,  dried,  weighs  8  grains. 
Hence : 

24  grains  gross  weight  of  cloth  8  square  inches. 
8     "      weight  of  cotton  in  8  square  inches. 

16     "  "       "    wool     "  8  square  inches. 


263 


Or,  8  grains  cotton  in  24  grains  gross  weight  =  33^  per  cent,  of  100. 
16     44      wool    "  24      44        "        "      =  66^  '  "         44  44 

24     44  100 
Answer :  The  cloth  given  for  testing  in  the  present  example  contains  33^  per  cent,  cotton 
and  66^3  per  cent,  wool,  or,  one-third  of  the  mixture  is  cotton  fibre  and  two-thirds  wool  fibre. 

IV.   To  Ascertain  the  Texture  of  Fabrics  Required  in  Loom. 

Of  all  the  different  points  required  to  be  ascertained  the  present  is  probably  the  most  difficult 
to  master,  in  fact,  it  can  only  be  accomplished  after  considerable  practical  experience.  To  mate- 
rially aid  the  novice  in  this  work,  it  is  strongly  recommended  that  he  provide  himself  with  a  col- 
lection of  different  samples  of  finished  fabrics  with  the  given  amount  of  shrinkage  of  each  during 
finishing.  Such  a  collection  he  can  afterwards  use  as  a  guide  for  ascertaining  the  texture  of 
similar  fabrics. 

The  Shrinkage  of  a  Fabric  in  Width  from  Loom  to  Case  [or  Finished  State). 

The  44 setting"  of  a  fabric  in  the  loom,  or  the  reed-space  the  warp  must  occupy  during  the 
process  of  weaving,  compared  to  the  width  of  the  fabric  when  finished  (ready  for  the  consumer) 
is  regulated  by  the  raw  material  used,  the  manner  in  which  the  yarn  has  been  produced,  and  the 
different  processes  the  fabric  is  to  be  subjected  to  during  finishing. 

Some  kinds  of  woolen  fabrics  require  a  large  amount  of  fulling,  hence  must  be  44 set"  wider 
in  the  loom  than  fabrics  having  a  similar  material  for  their  basis  but  requiring  very  little  or  no 
fulling.  For  example,  billiard-cloth  must  be  44 set"  nearly  twice  as  wide  in  the  loom  as  its  finished 
width,  while  beavers,  kerseys,  and  similar  woolen  fabrics  need  to  be  44 set"  but  about  one-half 
their  finished  width  wider,  and  fancy  cassimeres  from  one-quarter  to  one-third.  Worsted  or 
worsted  and  cotton  dressgoods  mostly  require  but  very  little  wider  44 setting"  in  the  loom  than  the 
finished  width  of  the  fabric  calls  for.  The  weave  itself  has  also  a  considerable  influence  in  regu- 
lating the  shrinkage. 

These  general  rules  are  worthy  of  consideration :  The  finer  the  quality,  and  the  softer  the 
filling  is  spun,  the  more  the  cloth  will  shrink  in  width.  If  the  filling  is  hard  twisted,  and  of  a 
coarse  nature,  the  cloth  will  have  but  little  tendency  to  shrink.  If  the  weave  has  a  wide  stitching, 
it  will  produce  a  narrower  fabric  than  when  the  texture  is  more  closely  intertwined.  The 
less  tension  put  on  the  warp  during  weaving  (" take-up")  the  narrower  the  fabric  will  be.  In 
comparing  woolen  and  worsted  yarn,  the  former  produces  fabrics  which  shrink  more  in  width 
than  fabrics  made  with  worsted  yarn.  This  result,  when  produced  from  the  same  raw  material,  is 
based  upon  the  two  different  processes  of  "  carding"  or  44 combing"  the  wool  fibre.  By  carding 
the  wool  every  fibre,  through  mixing  up  in  every  shape  and  direction,  is  twisted  in  itself,  and  such 
fibres  always  endeavor  to  resume  their  original  position.  By  worsted  combing  the  wool  fibres  are 
separately  united,  besides  being  combined  in  one  thread.  Each  fibre  is  its  own,  as  placed  in  posi- 
tion for  forming  the  thread,  and  thus  such  a  thread  remains  undisturbed  in  the  fabric.  The  fabric 
constructed  out  of  such  threads  will  keep  wider  than  if  using  a  wool-spun  yarn  of  equal  size  and 
under  equal  conditions. 

Shrinkage  or  Take-up  of  Warp  During  Weaving. 

We  must  also  carefully  consider  the  amount  of  take-up  the  warp  is  subjected  to  during 
weaving,  and  the  amount  of  shrinkage  in  length  the  cloth  undergoes  during  the  finishing  process. 
The  latter  point  will  not  come  into  consideration  in  the  case  of  fabrics  which  are  ready  for  the 
market  when  leaving  the  loom.  The  first  mentioned  shrinkage,  or  the  44  take-up"  of  the  warp 
during  weaving,  is    different,  and   varies   from   fabrics  requiring  two,  three,  four   or  more 


264 


times  the  length  in  dressing  than  the  fabric  length  woven,  to  fabrics  in  which  the  warp-length 
dressed  equals  the  fabric  length  woven  or,  if  any  difference,  to  be  very  little. 

The  points  given  in  the  previous  chapter  on  the  shrinkage  in  width  of  a  fabric  also  apply  to 
the  shrinkage  of  the  fabric  in  length.  The  weave  and  the  number  of  picks  per  inch  are  the  chief  ob- 
ject in  regulating  the  take-up  of  the  warp  during  weaving,  for  example,  a  fabric  interlaced  with  a  far 
stitching  satin  weave  (say  8  to  12  harness)  will  "take-up"  very  little  if  any  at  all,  unless  we  use  an 
unusually  high  texture  of  warp  and  filling.  Thus,  the  oftener  a  warp-thread  intersects  the  filling 
in  a  given  distance  the  greater  the  amount  of  take-up  required  for  the  warp.  For  this  reason 
fabrics  which  have  two  systems  of  weaves  combined — suppose  i-inch  wide  plain  weave 
to  alternate  with  a  2-inch  wide  8-harness  satin  =  3  inches  repeat,  10  repeats  in  width  of  fabric — re- 
quire two  beams — one  beam  to  carry  the  warp  for  weaving  the  plain,  and  one  beam  for  carrying  the 
warp  for  weaving  the  satin.  This  also  applies  to  worsted  fabrics  made  with  woolen  back-warps. 
The  amount  of  shrinkage  in  warp  pile  fabrics  for  its  pile-warp  is  considerable.  It  is  regulated  by 
the  height  of  pile  required  and  the  amount  of  wires  or  loops  per  inch.  Such  fabrics  may  often 
require  their  pile-warp  dressed  four  to  eight  times  longer  than  the  piece  measures  woven.  To 
ascertain  the  exact  percentage  of  "take-up"  for  a  fabric  needs  experience  and  can  only  be  mastered 
after  thorough  study  of  the  theory  of  constructing  the  different  weaves,  as  well  as  the  nature  of 
the  different  raw  materials,  with  their  various  methods  of  preparations  for  the  yarns,  and  the  vari- 
ous processes  of  finishing. 

V.  Ascertaining  the  Arrangement  of  Threads  in  a  Sample,  According  to  their  Color 
and  their  Counts,  for  the  Warp  and  Filling. 

During  the  process  of  "picking  out"  a  fabric  sample,  it  will  be  advisable  to  indicate  on  the 
squared  designing  paper  near  each  filling-thread  as  picked  out,  its  color  or  general  remarks  as  to 

thickness,  twist,  etc.  Also,  to  indicate  the  colors  and  size  of  the 
warp-threads  as  found  in  the  sample  dissected.  (For  illustration  see 
Fig.  10 1 2.)  By  proceeding  in  this  manner  it  will  be  found  that  after  a 
certain  number  of  successive  threads  in  warp  and  filling  have  been 
picked  out,  the  same  arrangement  of  using  threads  of  various  colors 
or  counts,  or  both  combined  in  the  sample,  repeats  over  again. 
This  is  classified  as  the  "repeat  of  the  pattern."  All  repeats  of  a 
pattern  must  be  similar  to  each  other;  thus,  if  we  place  two,  three  or 
more  repeats  of  the  sample  above  each  other,  they  must  in  every 
instance  cover  itself  in  color,  size  or  counts  of  threads,  and  method 
of  interlacing. 

Again,  if  a  number  of  these  repeats  are  placed  near  each  other  in  the  direction  of  the  warp 
and  filling,  they  must  connect.  If  patterns  are  found  not  to  contain  this  peculiarity,  or,  in  other 
words,  "do  not  repeat,"  they  must  be  arranged  so  as  to  have  this  peculiarity,  or  be  made  to  repeat. 

The  arrangement  of  the  warp  is  known  as  the  "  dressing,"  while  the  arrangement  of  the  filling 
indicates  the  building  of  the  "box-chain"  in  practical  work. 

VI.  Ascertaining  the  Size  of  the  Yarns  (their  Counts)  Found  in  Sample,  and  the 

Amount  and  Direction  of  Twist. 

The  size  or  thickness  of  a  thread  is  ascertained  generally  by  comparing  the  picked  out  thread 
with  a  collection  of  yarns  of  the  same  material  and  of  a  known  size.  For  this  purpose  prepare 
a  collection  of  woolen,  worsted,  cotton  and  silk  yarns  most  commonly  used.  In  fabrics  requiring 
no  fulling,  or  only  a  very  little,  such  as  worsted  dress  goods,  etc  ,  weigh  a  small  sample  of  the 
threads  and  calculate  from  their  length  and  weight  the  size  of  the  yarn ;  but  as  a  general  rule  the 
first  given  method  will  be  found  quick,  correct  and  less  troublesome  to  the  designer.    Care  must 


■nnMBnninnMniniSMnBiack. 
nn*MnnMnn«3MnnMMBiack. 
nMMnnMnMn«nLiMnnM  Black. 
M*txiMMnnM*nMnnBBna  Blue. 

MDEMUQDMDDMDMBDMMDBlack. 
□□MMnQMMDDMDBMDDBBBlack. 

::iai^3ppBMaMnnBarjBBiuck. 

■■lit  winaMBDMnPMBDDBrown. 

Fig.  1012. 


265 


be  taken  to  compare  threads  of  which  the  counts  are  required  to  be  ascertained  with  samples  of 
threads  of  a  known  size,  which  have  previously  been  subjected  to  an  equal  amount  of  shrinkage 
by  "  fulling  "  etc.;  or,  if  such  a  thread  cannot  be  obtained,  compare  the  picked-out  thread  with  the 
standard  threads  of  a  similar  material,  but  take  into  consideration  the  process  the  first  mentioned 
thread  has  been  subjected  to  during  the  finishing  process  of  the  fabric  it  was  a  part  of. 

VII.    Ascertaining  the  Weight  of  Cloth  per  Yard  from  the  Loom. 

This  subject,  based  entirely  upon  results  obtained  by  previous  points,  forms  the  most  inter- 
esting work  in  the  analysis  of  cloth.  Whatever  the  size  of  sample  may  be  which  is  submitted  for 
examination,  and  whatever  the  quantity  of  yards  of  cloth  to  be  produced,  the  weight  per  yard 
from  loom  will  form  the  standard  upon  which  future  calculations  in  manufacturing  must  be  based 
by  figuring  in  proportion.  After  knowing  the  number  of  threads  required  in  the  width  of  a 
fabric  submitted  for  analysis,  the  counts  of  the  respective  threads,  and  the  dressing  and  the  shrink- 
age of  the  warp  in  weaving,  it  will  be  easy  to  ascertain  the  weight  of  warp  yarn  required. 

Example  A.    Dressing-:  4  threads  black,  4  run  woolen  yarn. 

2  "  blue,  4  " 
4     "      brown,  4  " 

10  threads  in  repeat. 

3,600  ends  in  full  warp,  6  per  cent,  shrinkage  or  take  up  of  warp  during  weaving. 

Required:  Find  weight  of  warp  yarn  of  each  kind  necessary  for  one  yard  of  the  woven 
fabric. 

100  —  6  =  94.    Thus  94  :  100  :  :  36  :  x  and  100  X  36  =  3600     94  =  38.3. 
Each  individual  thread  requires  38.3  inches  length  dressed  to  produce  36  inches  interwoven. 
Hence  3,600  X  38.3  =  137,880  inches  =  3,830  yards  of  warp  required  to  produce  one  yard  of 
the  woven  fabric  (plus  amount  of  filling  required). 

3,830  yards  4  run  yarn  equal  in  weight  9.575  oz ,  ten  threads  repeat  of  the  pattern,  thus : 
9.575  _5_  10  =  O.9575  oz.  weight  in  proportion  for  each  thread,  consequently: 
4  threads  black  =  4  X  0.9575  =  3.830  oz.  per  yard. 
2      u       blue    =2X0.9575  =  1.915  " 
4     "      brown  =  4  X  0.9575  =  3.830  " 

9.575  oz.  total  weight. 

Answer:  The  previously  given  example  requires 

3.83  oz.  4  run  black  warp  for  each  yard  woven. 
1.9 1 5  "  4  "  blue 
3.83    "  4  "  brown 

consequently  9.575  oz.  weight  of  complete  warp  in  one  yard  woven  (3,600  threads  4 
run  yarn,  six  per  cent,  take  up  of  warp). 

The  threads  used  are  not  always  of  the  same  counts.    Two,  three  or  more  different  sizes  of 
yarn  may  be  called  for  in  a  fabric.    If  such  is  the  case  first  ascertain  the  number  of  yards 
required  of  each  kind  and  next  their  weight.    Suppose  the  previously  given  example  read  as 
follows  :    Example  B.  3,600  ends  in  warp— 6  per  cent,  shrinkage  of  warp  in  weaving. 
Dressing:  4  threads  brown  2.30s  worsted. 
2     "        blue  2.28s 
4     "        black    2.32s  " 

10  threads  repeat  of  pattern. 


266 

As  explained  in  previously  given  example,  36  inches  woven  equal  38.3  inches  dressed  by 
allowing  six  per  cent,  take  up. 

3,600  ends  in  warp      by  10  threads  in  one  repeat  =  360  repeats  of  each  thread;  thus, 

4  threads  brown  2.30s  worsted  =  360  X  4  =  1,440  threads  (a). 

2      "       blue     2.28s       "      =  360  X  2  =    720     "  (b). 

4     "       black   2.32s       "      =  360  X  4  =  1,440      "  (c). 

10  threads  in  repeat.  3,600  threads  in  warp. 

a.  Brown,  requires  2.30s  worsted  =  8400  yards  to  1  lb. 
36  :  38.3  :  :  1440  :  x 

38.3  X  l44°     36  =  1532  yards  of  2.30s  brown  worsted  required. 
8400  :  16  :  :  1532  :  x 

1532  x  16-5-  8400  ==  2.918  oz.  of  brown  2  30s  worsted  required  for  1  yard  cloth  woven. 

b.  Blue,  calls  for  2.28s  worsted  =  7840  yards  to  1  lb. 
36  :  38.3  :  :  720  :  x 

38.3  x  72°      36  =  766  yards  of  2.28s  blue  worsted  required.. 
7840  :  16  :  :  766  :  x 

766  X  16     7840  =  1.563  oz.  of  blue  2.28s  worsted  required  for  I  yard  cloth  woven. 

c.  Black  calls  for  2.32s  worsted  =  8960  yards  to  I  lb.  The  number  of  threads  are  equal  to  ay 
thus:  1532  yards  of  2.32s  black  worsted  required. 

8960  :  16  :  :  1532  :  x 

1532  X  16      8960  =  2.735  oz-  °f  black  2.32s  worsted  required  for  1  yard  of  cloth  woven. 
Answer:  The  previously  given  example  requires  the  following  amount  of  yarns : 
Brown,  2.30s  worsted  =  2918  oz. 
Blue,     2.28s       "      =  1.563  " 
Black,  2.32s       "      =  2.735  " 

7.216  oz.  weight  of  complete  warp  in  1  yard  woven. 


TABLE  OF  RELATIVE  LENGTHS 

Of  Inches  Dressed  and  One  Yard  Woven,  with  Reference  to  a  "Take-up"  During 

Weaving,  for  1  per  cent,  to  50  per  cent. 


Per  cent,  of  take-up 
during  weaving. 

Number  of  inches  required 
dressed  to  produce  one  yard  or 
36  inches  woven. 

Per  cent,  of  take-up 
during  weaving. 

Number  of  inches  required 
dressed  to  produce  one  yard  or 
36  inches  woven. 

1 

36.36 

13 

41.38 

2 

36.73 

14 

41.86 

3 

37.11 

15 

42.35 

4 

37-5° 

16 

42.85 

5 

37.89 

17 

43.37 

6 

38.30 

18 

43.90 

7 

38.71 

39 

44.44 

8 

39-13 

20 

45.00 

9 

39.56 

25 

48.00 

10 

40.00 

30 

51.43 

11 

40-45 

40 

60.00 

12 

40.91 

50 

72.00 

The  next  point  for  ascertaining  the  weight  of  cloth  per  yard  from  the  loom  is  to  ascertain  the 
amount  of  filling  required  for  one  yard. 

To  explain  this  subject  let  us  continue  the  example  previously  given  and  indicated  by  A. 
Suppose  those  3600  ends  require  72  inches  wide  setting  in  reed  (allowing  I  inch  for  width  of 


267 


selvage  on  each  side),  and  suppose  the  filling  found  used  in  sample  submitted  for  analysis  calls  for 
3^  run  black  woolen  yarn  and  52  picks  per  inch  in  loom. 

Question:  Find  amount  of  filling  required  for  weaving  one  yard. 

52  (picks)  X  72  (width)  =  3744  inches  filling  required  for  1  inch  of  cloth,  or  3744  yards  of 
filling  required  for  1  yard  of  cloth. 

3744  yards  of  3^  run  filling  (3744      350)  =  10.697  oz. 

Answer :  10.697  oz.  filling  required  for  weaving  1  yard  cloth  in  the  present  example. 

If  two,  three  or  more  kinds  of  threads  of  various  counts  of  fillings  are  used,  ascertain  each 
kind  independent  of  the  other.  For  illustration  let  us  continue  example  B  as  previously  given 
for  ascertaining  the  warp. 

Suppose  the  width  of  fabric  (including  x/2  inch  selvage  for  each  side)  calls  for  64  inches  and 
the  arrangement  of  filling  for  6  picks  2.26s  black  worsted  and  for  6  picks  2.28s  brown  worsted 
=  12  picks  in  repeat  of  pattern  and  56  picks  per  inch  in  fabric. 

Question :  Find  the  amount  of  filling  required  for  weaving  1  yard. 

56  (picks)  X  64  (width)  =  3584  yards  of  filling  required  to  weave  I  yard  of  cloth. 

Thus:  3584  h-  2  =  1792  yards  2.26s  worsted  black  (a),  and  1792  yards  2.28s  worsted 
brown  (&),  the  filling  required  to  weave  1  yard  of  cloth. 

a.  2.26s  worsted  (==  7280  yards  to  1  lb.).    Thus:  1792  :  x  :  :  7280  :  16 
1792  X16  ■+■  7280  =  3.938  oz.  of  2.26s  black  worsted  required. 

b.  2.28s  worsted  (=  7840  yards  to  1  lb.).    Thus :  1792  :  x  :  :  7840  :  16 
1792  x  16-r  7840  =  3.657  oz.  of  2.28s  brown  worsted  required. 
Answer:  3.938  oz.  of  2.26s  black  worsted. 

3.657  oz.  of  2.28s  brown  worsted. 

7.595  oz.  the  amount  of  filling  required  for  weaving  1  yard  of  cloth  in  the  present 
example. 

The  next  thing  to  be  ascertained  will  be  the  amount  of  selvage  threads  to  be  used,  and  their 
respective  weight. 

Suppose  example  A  calls  for  30  threads  2  run  (woolen  yarn)  for  selvage  for  each  side  of 
the  fabric,  thus  60  threads  for  complete  selvage. 

4-  6  per  cent,  take-up  =  63.82  yards  of  two  run  selvage,  equal  to  0.319  oz.  of  yarn  for  1 
yard  of  woven  cloth. 

For  example  B.  allow  30  threads  of  2.20s  worsted  for  selvage  on  each  side  of  the  fabric ;  thus 
60  threads  for  complete  selvage. 

+  6  per  cent,  take  up  =  63.82  yards  of  2.20s  worsted  =  0.182  oz.  of  yarn  for  1  yard  of 
woven  cloth. 

Example  A.  thus  requires  : 

9.575  oz.  warp  yarn, 
10.697  oz.  filling, 
0.319  oz.  selvage  threads. 

20.591  oz.  the  weight  of  I  yard  of  cloth  from  the  loom. 
Example  B.  thus  requires  ; 

7.216  oz.  warp, 

7.595  oz.  filling, 

0.182  oz.  selvage  threads. 

14.993  oz.  the  weight  of  I  yard  of  cloth  from  the  loom. 
After  the  weight  of  1  yard  of  the  cloth  woven  is  ascertained  it  is  easy  to  calculate  the 
amount  of  yarn  required  for  1  piece  of  cloth  or  any  number,  by  simply  multiplying  the  weight 
per  yard  with  the  number  of  yards  required. 


268 


For  example :  Suppose  previously  given  example  A  to  be  applied  to  a  fabric  40  yards  "  fromi 
loom."    Thus : 

9.575  oz.  X  40  =  383      oz.  =  23  lbs.  15  oz.  warp  yarn, 
10.697  oz.  X  40  =  427.88  oz.  =  26  lbs.  11.88  oz.  filling  yarn, 
0.319  oz.  X  40  =    12.76  oz.  =    12.76  oz.  selvage. 

20.591  oz.  total,       51  lbs.  7.64  oz.  weight  for  1  piece  40  yards  long. 

Proof:  20.591  oz.,  weight  of  cloth  per  yard,  x  4°>  number  of  yards  of  cloth  required,  equals 

823.64  oz.,  -^-16  =  5 1  lbs.  7.64  oz. 

Suppose  the  previously  given  example  under  B  applied  to  the  following — 

Question:  Find  the  amount  of  yarn  required  for  producing  20  pieces,  each  50  yards  long 

from  loom,  thus: 

20  pieces  X  50  yards  each  cut  =  1000  yards  of  cloth  required,  hence 
7.216  oz.  X  1000  =  7216  oz.  =  451  lbs. 
7.595  "  X  1000  =  7595  "  =  474  "    n  oz. 
0.182  "  X  1000=    182  "  ==    11   "     6  " 

14.993  937  l°s-    I  oz.  weight  required  for  20  pieces,, 

each  50  yards  long,  or  1000  yards  of  cloth  woven. 

Proof:  14.993  oz.  weight  per  yard  of  cloth  X  1000  (number  of  yards  of  cloth  woven) 
14993  oz.  ■+■  16  =  937  lbs.  1  oz. 

VIII.   Ascertaining  the  Process  of  Finishing  Necessary  and  the  Amount  of  Shrinkage 

of  the  Fabric. 

The  shrinkage  of  a  fabric  during  finishing  is  regulated  by  the  amount  of  fulling  required. 
Woolen  fabrics,  and  especially  such  as  are  constructed  out  of  soft  spun  yarn,  shrink  more  than 
any  other  textile  fabric. 

In  arranging  the  width  of  a  fabric  for  weaving  ("setting"  in  reed)  we  must  calculate  the 
amount  of  shrinkage  of  the  fabric  on  the  loom  as  well  as  during  the  process  of  finishing.  The 
shrinkage  in  length  of  the  fabric  can  more  readily  be  regulated  during  the  finishing  process 
(fulling).  Worsted  fabrics,  which  require  no  fulling — only  scouring — shrink  very  little,  while 
cotton  goods,  which  require  only  calendering  or  pressing,  etc.,  do  not  lose  any,  and  may  possibly 
rather  gain,  in  length. 

During  the  process  of  carding  and  spinning,  oil,  water,  etc.,  are  taken  up  by  the  wool,  and 
during  dyeing  some  of  the  dye-stuff  will  remain  loosely  in  the  yarn.  These  substances  must  be 
removed  in  the  scouring  of  the  cloth;  therefore  we  must  allow  for  a  corresponding  loss  in  weight 
for  such  fabrics  from  their  relative  weight  in  the  loom  until  the  fabric  is  scoured. 

The  subsequent  processes,  such  as  gigging  and  shearing,  will  also  reduce  the  previous  loom 
weight  of  the  fabric.  Fabrics  requiring  none  of  these  processes  consequently  need  none  of  these 
considerations,  while  fabrics  requiring  a  starching,  calendering  or  flocking  may  even  gain  in 
weight  during  such  an  operation. 

The  shrinkage  of  fabrics  in  finishing  requires,  similar  to  the  two  different  widths  (width  of 
fabric  when  finished,  and  its  width  in  reed),  to  figure  in  two  different  lengths  during  calculations. 
a  the  length  of  the  cloth  from  loom,  b  its  finished  length.  It  will  be  easily  understood  that  when 
orders  are  given  for  a  certain  number  of  yards  from  a  buyer  or  the  commission  house,  they  con- 
sider the  number  of  yards  given  as  the  "finished  yards";  therefore  the  percentage  that  the  fabric 
shrinks  during  the  finishing  process  must  be  added  for  ascertaining  the  number  of  yards  required 
"front  loom"  or  woven.  Take-up  during  weaving  added,  will  give  us  a  third  length,  or  the  length 
of  warps  dressed,  while  the  shrinkage  of  a  fabric  in  finishing  regulates,  as  previously  mentioned,, 
the  width  of  the  fabric  in  loom,  in  addition  to  the  width  of  the  finished  fabric. 


I 


Appendix. 


A  NEW  METHOD  OF  DESIGNING  WEAVES  "BY  FOUR  CHANGES/' 

This  novel  procedure  of  obtaining  new  weaves  is  most  excellently  suited  for  the  construction 
of  broken-up  weaves,  technically  called  "granite"  weaves.,  so  extensively  used  for  cheviots,  cassi- 
meres  and  worsteds  ;  besides  manufacturers  of  figured  cotton  and  silk  fabrics  will  find  a  great 
many  of  these  weaves  very  useful. 

Rules  for  Constructing  these  Novel  Weaves. 

This  new  method  of  designing  weaves  consists  in  placing  one  or  two  weaves,  four  times  into 
each  other  ;  every  time  (before  starting  any  of  the  four  changes)  turn  your  designing  paper  45 °  ; 
lay  out  the  plan  for  your  new  weave  four  times  the  size  of  the  original  weave  or  weaves  and  place 
(7.  e.}  consider)  the  original  weave  or  weaves  always,  only,  upon  the  uneven  points  of  interlacings 
(warp  and  filling  ways)  in  the  new  weave. 

As  previously  mentioned  we  may  use  either  one  weave  only  for  the  construction  of  the  new 
weave,  or  we  can  select  two.  Both  procedures  being  readily  explained  by  studying  examples 
given  hereafter. 

How  many  new  Weaves  can  we  make  out  of  one  Foundatio?i  Weave? 
There  is  no  fast  rule  for  answer,  it  depends  on  the  size  and  kind  of  weave  selected  for  foun- 
dation. 

Repeat  of  the  new  Weave. 
A  3  x  3  weave,  i.  e.,  a  weave  repeating  on  3  warp  threads  and  3  picks,  if  used  for  foundation 
will  produce  a  new  weave  repeating  on  6  warp  threads  and  6  picks, 
since  3x3  =  9x4  changes  =  36  possible  points  of  interlacing, 
and  6x6  =  (also)  36  possible  points  of  interlacing. 

A  4  x  4  weave,  i.  e.,  a  weave  repeating  on  4  warp  threads  and  4  picks,  if  used  for  foundation, 
will  thus  produce  a  new  weave  repeating  on  8  warp  threads  and  8  picks, 
since  4x4  =  16x4  changes  =  64  possible  points  of  interlacing, 
and  8x8  =  (also)  64  possible  points  of  interlacing. 

A  5  harness  weave,  t.  e.,  a  weave  repeating  on  5  warp  threads  and  5  picks,  if  used  for  foun- 
dation, will  thus  produce  a  new  weave  repeating  on  10  warp  threads  and  10  picks, 
since  5x5  =  25x4  changes  =  100  possible  points  of  interlacing, 
and  10x10  =  (also)  100  possible  points  of  interlacing. 

If  a  10  x  10  weave  is  used  for  the  foundation,  the  new  weave  will  repeat  on  20  warp  threads 
and  20  picks, 

since  10  x  10=100x4  changes  =  400  possible  points  of  interlacing, 
and  20x20  =  400  possible  points  of  interlacing. 

EXPLANATIONS  AND  ILLUSTRATIONS  ON  THE  PROCEDURE. 

3  Harness  Weaves  for  Foundation. 

i2..~.-"..^B~n 
...  ;      ■■■  L 

□□□□□□  9   «   i  9    1    t  BHSB5-BRr=-22U 

»_]«□□□  ~Dsmamm  "mmomno'0  ■  ■■■ 

3S2pi  3H»a  □□□□an  cjbsdgd  ifiSBSBRHBrEnn 

mum  □□□Hba  c    *  ■■■□□□■■■□m 

Fig.  1013.  Fig.  1014.  Fig.  1015.  Fig.  1016.  Fig.  1017.  Fig.  1018.  Fig.  1019. 

In  this  instance  we  used  the  combination  of  two  weaves,  viz. :  Fig.  1013  the  common 
^2  3  harness  twill  (filling  effect)  and  Fig.  1014  the  common  x^  3  harness  twill  (warp  effect). 

(269) 


270 


In  diagram  Fig.  1015  is  shown  : 

The  first  step  towards  producing  the  new  weave.  The  size  of  the  new  weave  according  to  rules 
previously  given  is  (3  x  3  =  9  x  4  —  36  and  j/3  6  =)  6x6,  i.  e. ,  6  warp  threads  and  6  picks.  Ex- 
amining this  diagram,  Fig.  1015,  we  find  the  3  harness  twill  (see  □  type)  placed  on  the  design 
paper,  considering  only  such  squares  as  form  the  points  of  the  interlacings  of  every  uneven  num- 
bered warp  thread  with  every  uneven  numbered  filling  thread  (1st,  3d  and  5th  end  of  each  system)  . 

For  a  clear  understanding  of  how  to  place  said  3  harness  twill  (and  in  turn  any         ,  3  5 
other  weave)  on  every  uneven  numbered  warp  and  filling  end  the  accompanying  dia-  5§§§B§§5 
gram,  Fig.  10 15*,  is  given;  in  the  same  the  counting  off  of  the  foundation  weave  is  JyBSBgB* 
shown  for  "risers"  or  "taken"  corresponding  to  Fig.  1015  by  ■  type,  whereas  the       fig.  1015*. 
' '  sinkers  "  or  1 '  left ' '  are  shown  by  □  type. 

The  second  step  for  designing  the  new  weave  is  to  turn  the  diagram  Fig.  1015  (see  position  of 
letter  of  reference  a)  45 0  to  the  left  and  next  insert  the  y1  3  harness  twill  weave  Fig.  1014  upon 
the  points  of  interlacings  of  the  uneven  numbered  warp  and  filling  ends  (see  ■  type)  in  weave  Fig. 
1016. 

The  third  step  consists  in  turning  the  diagram  again  45 0  to  the  left  (see  position  of  letters  of 
references  a  and  b)  and  insert  again  the  ^  3  harness  twill  Fig.  1013  upon  the  points  of  interlacings 
of  the  uneven  numbered  threads.    This  procedure  is  clearly  shown  by  a  type  in  weave  Fig.  1017. 

The  fourth  step  consists  in  turning  the  diagram  again  45 0  to  the  left  (see  position  of  letters  of 
references  a,  b  and  c)  and  insert  again  the  y-  3  harness  twill  weave  Fig.  1014  upon  the  points  of 
interlacings  of  the  uneven  numbered  threads,  as  clearly  shown  by  □  type  in  weave  Fig.  1018. 

This  finishes  the  new  weave,  and  which  for  the  sake  of  clearness  we  thus  show  in  Fig.  1019 
with  four  repeats  in  one  kind  of  type. 


New  Weaves  Out  of  the  Same  Foundation  Weaves. 

As  previously  mentioned,  we  can  design  more  than  one  new  weave  out  of  each  foundation 
weave  ;  however,  no  fast  rule  for  a  certain  number  of  weaves  thus  possible  to  be  obtained,  can  be 
laid  down,  since  in  some  instances  the  same  new  weave  will  result ;  and  this  not  only  with  the 
same  foundation  weave  but  also  with  different  ones.  (However,  the  amount  of  new  weaves  de- 
rived by  the  present  system  of  designing  is  endless,  and  this  accomplished  in  a  most  easy  manner.) 

For  explaining  the  subject  of  obtaining  a  new  weave  out  of  the  same  foundation  weaves  the 
accompanying  diagrams,  Figs.  1020  to  1026,  are  given.  In  the  present  instance  we  placed  the  3 
harness  foundation  weaves  in  a  different  position  for  starting,  as  shown  by  weaves  Figs.  1020  and 
102 1. 

□□□□□□ 

u"u  □□□□□□ 

Fig.  1020.  Fig.  1021.  Fig.  1022 


■□nana  pbcdsb 

Banana  aoHBQa  □■■■nnnBMnn 

■nannn  naaann  Banana  ■■nnenBannan 

Havana  nnnnan  Enenna  □■nnaananniB 

■oaa  Bcaaea  naannn  □□■■■□aSmi" 

gai  □■  anannn  GBaaaa  ■□□■□■■□libHb 

Fig.  1023.  Fig.  1024.  Fig.  1025. 

■■□□■□■■□□■a 

Fig.  1026. 


The  first  step  of  designing  the  new  weave  is  shown  by  diagram  Fig.  1022  ;  the  second  step  of 
designing  the  new  weave  is  shown  by  diagram  Fig.  1023  ;  the  third  step  of  designing  the  new 
weave  is  shown  by  diagram  Fig.  1024  ;  the  fourth  step  of  designing  the  new  weave  is  shown  by 
diagram  Fig.  1025  ;  and  the  new  weave  thus  obtained  is  shown  in  one  kind  of  type  (four  repeats) 
in  weave  Fig.  1026. 

Comparing  this  weave,  Fig.  1026,  with  the  weave,  Fig.  1019,  of  the  former  example,  we  find 
two  totally  different  weaves  obtained  from  the  same  foundation  weave,  and  this  by  means  of  the  same 
procedure,  only  placing  the  foundation  weave  in  a  different  position  for  starting. 

Subjecting  the  same  foundation  weaves  (the  and  j1  3  harness  twill)  to  their  next  change 
in  position,  see  weaves  Figs.  1027  and  1028,  we  obtain  by  means  of  the  characteristic  four  changes 


271 


shown  by  diagrams  Figs.  1029,  1030,  1031  and  1032,  the  new  weave  Fig.  1033  but  which  corre- 
sponds exactly  with  the  one  obtained  in  the  previous  example  (weave  Fig.  1026). 


■□□ 
□□■ 


Fig.  1027. 


■■□ 

Fig.  1028. 


□□□□□□ 
■ 

[  dco  ;  1 
■□□□□□ 

□□□□□□ 

Fig.  1029. 


n  -m  -  :  \ 

1 !  DC  il  E  i 

1    1  1  ;i  u 

wn   11 1  i 

1 1.  :i  j  j  1  ] 

Fig.  1030. 


I  )  II  IBM.  J 

□□□□■□ 

Fig.  1031 


(  ,BH  ,H  i 

HM  J  GM 

a  ::m  n 

Fig.  1032. 


1     BB   B      BB  B 

B  ,1  :  BBB  .  BB 
I B  ■■  :  B  BB.  : 

I  BB  B  BB  B  1 
BB  !  BBB  B 
B  ill      B  BB 


Fig.  1033. 


This  feature  of  obtaining  the  same  new  weave  will  occur,  more  or  less  often ;  however  it  is 
insignificant  compared  to  the  endless  number  of  new  weaves  we  can  obtain  by  means  of  this  new 
system  of  designing. 

4  Harness  Weaves  for  Foundation. 

As  readily  understood  by  the  student,  the  larger  the  repeat  of  the  foundation  weave,  the  more 
motives  (foundation  weaves)  are  found,  and  in  turn  the  more  new  weaves  we  can  produce. 

Let  us  start  with  the  most  simple  motive,  i.  e.,  the  x^  and  y—  twill  for  foundation  as  repre- 
sented by  weaves  Figs.  1034  and  1035. 


■□CD 


Fig.  1034. 


Fig.  1035. 


□□□□□□□□ 

□□□□□□□□ 
□□□□■□□□ 

□ODDunaa 

□□■□□□CD 

□□□□□□□□ 
■□□□□□□□ 

Fig.  1036. 


■□□□□□□□ 

■□■□■□CD 
□□■□□□CD 
M  iU  jizm  ! 
□OuDIDQD 

■□□□■□■□ 
□□□□□□■□ 

□□■□■□■□ 

Fig.  1037. 


ncmw'jrii 

Gl  ]'  )!  i  Jl  iffl.  i 
I  i  .  JLiMBi  1  i 

□□□□a  iL.n 

I  I     JB'l'.ji  i  J 

IS  .]□□□□ 
■■■□■□□□ 

■□□□□□□□ 

Fig.  1038. 


■■□BGRGG 

Gia  a  , 

r  n  m  ojgm 

H'  I  J3G 

,  .  •  >3  M  '  I  I 

a  ::b:: 

1  "  ■  1  i  1*  1 
□□□□■□SB 

Fig.  1039. 


■■□■□■□□■■□■□■□a 

BBB  IB  j;    111    I  j! 
BBB         B    BBB  B 

■  IBB.  :   B   B  .BB      B  j 

□b  ggbbgb  jbggbbgb 
b.  :  .  :bbb  .b  □  ■■■  1 

□'J  !B  III         I  ill! 
Q  .B.  .B   BB  'I  B    B  BB 
BB  IB   I      II    ■  B 
BBB  B  :  ,    BBB  B 
{  BBB  ,  I    B  .BBB  i  .  B 

b  bb    b  b  bb    b  1 

cbggbb  .ib  ibji  bb  .b 
b.  ;  :.  :bbb  'b  jggbbbq 

milllllJ.  j  B  BBB 
□GBGBQBBGGB  dB JBB 

Fig.  1010. 


In  diagram  Fig.  1036  we  find  the  first  step  for  producing  the  new  weave ;  in  diagram  Fig. 
1037  the  second  step  ;  in  diagram  Fig.  1038  the  third  step  ;  and  in  diagram  Fig.  1039  the  last  step  ; 
the  complete  new  weave  thus  produced,  being  shown  in  one  style  of  type  and  for  a  better  view 
executed  with  four  repeats  in  Fig.  1040. 

The  next  motive  for  producing  a  new  weave  would  be  to  change  the  position  of  starting  the 
foundation  weaves  (the  beginning  of  the  two  4  harness  twills). 


CDBD 
□■□□ 

■□□□ 


Fig.  1041. 


□■■■ 

BBB 


Fig.  1042 


□□□□□□□□ 
□□□□■.  jgg 
□□□□□□□□ 
□□■□□□□□ 
□□□□□□□□ 
■□□□□□□□ 
□□□□□□□□ 
□□□□□□■□ 
Fig.  1043. 


14  :.m  ]'□  iu  ] 

GC  IGBGGi  ! 

i  YO  1  ]Ml  .!<  Y  ] 

□□  o; 

(  II  If  O  JJMG 

bg^ggg  )□ 

■□■□■□□□ 
Fig.  1044. 


timo  :,  igug 

□  DGHGi  ]  ! 

hum  :ii  ,.jf  m 

l )  IS  XlfJCQ 
I  YJt  I  ji  IB'J'  1 

h  .  iu  :jU:  j  j 

[        B  1   l  U 

□□□□□□HQ 

Fig.  1045. 


s:xri  i ) 
h      ii  ;  ci 

l  It  I.  j  IB:  1  ;f  1 

cob  z: 

Us  i   I  l  i._it3t  I 

[    ::b::  ih>  ; 

&\  jj\  n  .it  1 

Fig.  1046. 


□□■■□■□■□□■■□■□■ 

B    B         BBB    B  BB 

□■□■■■□□□■□■■■□□ 
■■□□■□■□■■□□■□ID 
□■□■□□■■□■□■□□■■ 
□□■■■□■□□□■■■□■□ 
■■□□□■□■■■□□□■□■ 
■□■□■■□□■□■□■■□□ 
□□■■□■□■□□■■□■□■ 
■□■□□□■■■□■  II  II  BB 
□■□■■■□□□■□■■■□□ 
BB  B  B  BB  .  B  B  1 
□■□■□□BBCB^BCIDBB 
□□■■■□■□□□■■■□■ 1 
■■□UCBLJBBBUUDBDB 
■□■□■■□□■□■□■■□ J 

Fig.  1047. 


This  is  shown  by  Figs.  1041  and  1042.  Diagram  Fig.  1043  represents  the 
Fig.  1044  represents  the  second  step;  diagram  Fig.  1045  represents  the  third 
Fig.  1046  represents  the  last  step  for  designing  the  new  weave,  which  again  is 
of  type — four  repeats — in  Fig.  1047. 


□■□□ 

mica 
□□■□ 


Fig.  1048. 


■□■■ 
□■■■ 
■■■□ 
■■□■ 

Fig.  1049. 


□□□□□□□□ 
□□■□□□□□ 
□□□□□□□□ 
■□□□□□□□ 
□□□□□□□□ 
[  ;□  1  )□  IB.  j 
□□□□□□□□ 
□□□□■□□□ 

Fig.  1050. 


□□□□■□□□ 

H  I  Oi  MO 
□□□□□□■□ 

□HM  ]S  J  mo 

a;]-:.:; 

N  iM  Ji  Y  '.  ..J  1 
□□■□□□CD 

■□■□□□■□ 

Fig.  1051. 


n~flBTOH  J 

r:  ,a □□□□□ 

IB  MM  J.j  J 

FS 

□  :  M  JMJMB 

Dud  i  DHI  j 
M:  IG  ]'  !BM  J 

□□□□■□□□ 
Fig.  1052. 


nrcna'  r  1;  i 
□qui  laaaa 
r !  .  ju  r  isti 
( ira:  .aB 

El  1  iM  .M  J  1 

aia  a  jGU 

[  i  iQi  IGG  0  1 
EGaBGGBQ 

Fig.  1053. 


first  step ;  diagram 
step ;  and  diagram 
shown  in  one  style 

□■□□■■□■□■□□■■□■ 

■□QJBBBGBGGGBBBG 
□□□BQBBBGGGBQBBB 
□□■'.  B  BB  B  B  BB 
■BGBiGBGGBBGB.  B .  / 
BBBGBGGGBBBGBGGG 
□■■■□□□■t  ]■■■□□<  B 
■□■■□□■□■GBBQGBG 
GBGGBBQBGBGGBB.  jB 
B  BBB  B  IBB 
GGGB  BBB  .  B  BBB 
GGB:  B  BB  .  B  B  II 
■BGB  IBGGBBGBGB  lj 
■BB  B  III  I  ■ 
□■■■□□□BGBBBGG ' B 
BBBBBIBB 

FIG.  1054. 


The  next  motive  of  changing  the  present  foundation  weaves  is  given  in  Figs.  1048  and  1049. 
Diagrams  Figs.  1050,  105 1,  1052  and  1053  represent  the  respective  four  changes  for  designing 
the  new  weave  Fig.  1054,  but  which  is  a  duplicate  of  weave  Fig.  1040. 


272 


Trying  to  produce  another  weave  by  the  next  change  in  position  of  the  foundation  weaves  as 
shown  in  Figs.  1055  and  1056  results  in  a  duplicate  of  the  formerly  given  weave  Fig.  1047  as 


Fig.  1055. 


□BBB 


Pig.  1056. 


□□□□□□□□ 

□□□□□□□□ 

□□□DLJIjB  J 

□□□□□□□□ 
□□□□□□□□ 

Fig.  1057. 


□□M3  OJ3 
■□□□□□□n 

33  i  Jt  133  ] 
U!  ■  ]□□□□ 

HU  i    :3<  jt  i!  J 

■□□□■□■□ 
Fig.  1058. 


m    1  id 

□□□□□□aa 

!  :■'  Of  331-  41  J 

f  O  I:  I1  JLlMB 

□UfflDDDDa 

Fig.  1059. 


aaa  a  1 

BBCD  .1  !  I 

a  a  ■□■■:.:] 

t  :i  Si  I  Jl  3)11 

a  a  r  ]  as 

l     It     I  ^B! 
□■□□□□HQ 

Fig.  1060. 


□□■■■□■□□□■■■□■a 
■■□□□■□■■■□□□■us 

□■□■□□■■□■□■□□■a 
□□■■■□■□□□■■■□■a 

■■□□□■□■■■□□□■u« 

■□■□■■□□■□■□■■□a 

□■□■■■□□□■□■■■□a 
■■(□□■□■□■■□□■□■a 

Fig.  1061. 


clearly  shown  by  diagrams,  (four  changes),  Figs.  1057,  1058,  1059,  1060,  and  weave  Fig.  1061. 

These  duplicate  examples  have  been  quoted  and  illustrated  to  make  the  student  more  familiar 
with  the  subject,  i.  e.,  not  to  get  disappointed  if  any  time  obtaining  a  duplicate  weave. 

Obtaining  duplicates  of  new  weaves  is  not  always  the  result  with  all  foundation  weaves,  as 
clearly  demonstrated  by  the  next  example  the  four  harness  broken  twills  --g  and  y— ,  and  which 
produce  in  every  instance  a  totally  different  new  weave. 

■■□■□■□□■■□■□■□a 

■■■□■□□□■■■rwcoa 
□□□■□■■■□□□■□■■a 
■□□□■■■□■□□□■■■a 

■  m  mm    ■  ■  ■■ 

JBUDBiDBDBna, 
BDBBDDBDBDBBnDBQ 
□BBBnnUBDBBBDDLjB 
BBBDBGDDBBBDBDDD. 
□□□BDBBBDDL1BDBBB 


□□BO 
□□□B 
□BOO 
BDDQ 

Fig.  1062. 


5DBB 
BBB 


Fig.  1063. 


□□□□□□□□ 

□□□□BDDD 

□□□□□□□□ 
□□□□□□BQ 

□□□□□□□□ 

□□Banana 

□□□□□□□□ 
BaDaaaaa 

Fig.  1064. 


BpaascoQ 

■□■□□□aa 
□□Baaaaa 

■□■□■□□□ 

[  13333  B  J 

■□□□■□■a 

□□DDBDDD 

□□■□■□■□ 

Fig.  1065. 


i  1  ji  aaaaa 
■     s :  □ 

□asaaaaa 
1 13  JBaaaa 

«□□□□□□□ 
Fig.  1066. 


U..OB  ,□□□ 

'  3   ,  ]□;.  it  I 

::m::  taut  i: ) 
1  i33f  i  ;  w;  i 
□□jaaaaj 

□aaoffli  t  it  1 

□□QDQQQB 

Fig.  1067. 


Fig.  1068. 


Weave  Fig.  1062  shows  us  the  4  harness  broken  twill  filling  effect,  which  is  used  in  con- 
nection with  weave  Fig.  1063  the  y—  4  harness  broken  twill  warp  effect  in  the  construction  of  the 
new  weave. 

Diagrams  Figs.  1064,  1065,  1066  and  1067  are  the  four  changes  necessary  for  constructing  the 
new  weave  Fig.  1068. 


□aaa 

□□BD 
BLOQ 
□□□B 


Fig.  1069. 


B..'BB 
■  ■  ■ 
□BBB 
BBBa 


Fig. 1070. 


□□□□□□□□ 
□□Banaaa 

□□□□□□□□ 
□□□□■□□□ 
□□□□□□□□ 
■  )( ]□□□□ 
□□□□□□□□ 

□□□□□□BO 

Fig.  1071. 


aaaaanna 

W3.  gml  it  j  j 
□□□□□□aa 
■□■□□□ea 
naaaBana 

□□S33  !  it  I'  1 
B3.  1  !L  li  ll.J!  J 

■□anaaBa 
Fig.  1072. 


nBaonasa 

□□fflaaaaa 

H'jW.l!rt."iJi 

□a  naaaa 

I  I  IBBQDBa 

ffl  II  II  ]□  iao 
□us  1  it  ■  !  : 
□□aaaasa 
Fig.  1073. 


□□BBcn-n 
□□□□□ 

3M    '•■  I  ,3H 

n  l:b  .i  a  t 

□SJL.Bf  i  1 1 

i  aa  a  a  . 

BBDBDL1UB 

oaaaQaan 

Fig.  1074. 


□□BBDBDBaaBBaBnB' 
BGpaBaBBBDaCBDBB 
□BnBUBBDDBQBCBBa 
BaBBQDBDBDBBDDBa 

i  b  :_  sb  bobodbbcb 
111  ■  b  -;bb  ibdbo 

B«   B         ■■■    ■  ■ 

BOBaBBOaBOBaBBaO 

□aBBaaaBaaBBaBaa' 
a  :  .  m  mmm      m  mm 

□BMBQBBLJDBnBDBBa 

■GHOGIOIDHDniD 
□BaaBBDBDBDDBBaB: 
□BB3BaaaaBBL"JBOBO 
Hi BnUQBBBaBaDDB 

■  b  bb    mm  bbdc 

Fig.  1075. 


The  next  change  in  position  of  the  (4  harness  broken  twill  warp  and  filling  effect)  foundation 
weaves  as  used  in  the  previous  example  is  shown  by  weaves  Figs.  1069  and  1070. 

Diagrams  Figs.  1071,  1072,  1073  and  1074  are  the  four  changes  necessary  for  obtaining  the 
new  weave  Fig.  1075. 


BDCO 
□BOO 
□□□B 

□□aa 


Fig.  1076. 


Fig.  1077. 


aoaaoaaa 
Baaaaaaa 

□□□□□□□□ 


□□Banana 

□□□□□□□□ 
□□□□□caa 
□□□□□□□□ 
□□□□Baaa 


Fig.  1078. 


□□□□□□BO 

0  it  ii  it  o  i!  i 
□aaaaaaa 

■□□□M.  ^  1  J 

b  g  y.  c  j  ] 

t  V  1HJ!  i  J  :□ 

naaaaaaa 

■□■□□□Ha 

Fig. 1079. 


mi  IBBO  v 

FB.  J  11  1  !□□□ 

■  m 

□  ;ffli  ]□□□□ 

□  if  13  «3J 

□□□□3  Esa 

f  1  3JDBQBB 

□□□□Bsaaa 
Fig.  1080. 


□Boaansn 
□□□□□aau 

□□□!  Ifflt  ■    t  i 

□□□□a  ::■ 

ffii  i  Jt  !      Ji_it  ! 

a  aaa  i 

1  iBBaaaa 
BBQaaaaa 
Fig.  1081. 


□■□□□BBBOBDODBBB 
□□BaBBBaaOBDBBBn 
□□□BBBiJBaaUBBBHB 
BDOOBaBBBaaOBaBB 
MQinDDIIiaiGODI 

BaBBBaaaBaBBBL.iaa 

□BBBiJBDDCBBBUBDD 

BBBjaaBDBBBaaaBo 

□□BDBBBaaaBDBBBQ 
□□□BBBaBaaQBBBQB 

■     ■  ■■■      ■  ■■ 

BBaBaaaBBBaaaaaB 

BCBBB   ULIUIIII  _ 
□BBBi  jB  "  ■  JC  BBBJBr  G 
BBBlJ3_,B  . 

FIG.  1082. 


The  next  position  for  placing  our  foundation  weaves  is  shown  by  Figs.  1076  and  1077. 
Diagrams  Figs.  1078,  1079,  1080  and  1081  illustrate  the  four  changes  necessary  for  con- 
structing the  new  weave  Fig.  1082. 


273 


The  final  position  for  commencing  the  construction  of  a  new  weave  with  our  four  harness 
broken  twill  weaves — warp  and  filling  effects —  is  given  in  Figs.  1083  and  1084. 


[  1LLB 
■  L  it  ] 


Fig.  1083. 


■■  ■ 


Fig.  1084. 


□cpaqugq 

t  B   □  o 

■  iuij 

li  o  E  33 

LI  li  K  1  ,  L  i.  1 

Fig. 


1085 


■  . 

I  I  ,1  Ul  L] 

□□»_)□□□□ 
11  /ii  1  li  1  i 
).  ■  ) 

U  DDI  ILJtU 

Fig.  1086. 


lhlmbl  :  1 

ffiil  1  1  il  ui  1 
a  ama  i 

u      li  /.  ::■ 

■::  i 

Fig.  1088. 


^■■□□■□■□■■□GB 
■  ■   ■        ■■■  ■ 

I.  i.  ,  ■  ■■■  !i  J.  ■  ■ 


■  ■■■ 
■     ■■  ■  I 

;  ■  ■ 


Fig 


■  1 

1089. 


Diagrams  Figs.  1085,  1086,  1087  and  1088  explain  again  the  characteristic  four  changes  neces- 
sary for  obtaining  the  new  weave  Fig.  1089. 

The  result  of  the  combination  of  two  fancy  4  harness  uneven  sided  weaves  Figs.  1090  and 
1 09 1  is  given  in  the  new  weave  Fig.  1092. 


Fig. 1092.. 


Rc.1095. 


FlU.1098. 


Fl&.noi 


The  next  position  of  said  two  foundation  weaves  is  given  by  Figs.  1093  and  1094  and  their 
combination  results  in  the  next  new  weave  Fig.  1095. 

The  third  position  of  the  two  foundation  weaves  is  given  by  Figs.  1096  and  1097  and  the 
result  of  their  combination  in  the  third  new  weave  (from  the  same  foundation  weaves)  Fig.  1098. 

The  fourth  or  last  possible  position  for  said  two  foundation  weaves  is  given  by  Figs.  1099 
and  1 1 00  and  the  new  weave  thus  obtained  by  Fig.  1101. 

We  now  come  to  the  first  even  sided  weave  for  the  foundation  (considered  with  reference  to 
its  appearance  on  the  design  paper)  the      rib- weave  (warp  effect)  given  in  Fig.  1102. 


■  ■ 


Fig.  1102. 


□□□□□□□□ 

□□□□□□□□ 
llh  illb  1 
□□□□□□□□ 
■□□  ■ 

ldcdlcll 

Fig.  1103. 


Li  x  IL  i  !  m  ] 

□□[  it  ■  ■  . 

□Ljfi.  ;l  :  1  n 

■□■□□LLQ 

hl.jli  =  77a 

BDDDBDDD 

Fig.  1104. 


r:  •  ■  ■ 

L  iL  Bt  '"LSi  1 
CO  ■  1  i  :■ 


I  ■  ■ 

bjlb:  i 
CBLjH  :bm;;j 

BDCCffiDLL 

Fig.  1105. 


if'HLJ 

(     J!      i'       '  &  ' 

r   □  1 

HflfflCO-  ILL 

am  ma 

Li  i  ^  Q  ! 
□□□□□■LB 

Fig. 1106. 


■□■■□□□■■□■■□□□a 
1  ■■■  ■  ■■■  ■  1 
■■  ■■  ■■  ■■ 
■  .  mmm  m  ■  mmm 
mmm  m  mmm  m  i 
mm  mm  ;    ■■  ■■  u 

□■□□■■■ULBLLBBBa 


1  j 


i'  1 


1  mmm.    m  m\ 

Li!  :   ■■  ■■ 

1    ■     ■■■  '  a,  .  ■■■ 

■■■□□■LLLBBBL  I  ■;  Dl  i 

li.  i  ■■  ■■  ; 
□■□□■■■□[]■□□■■■□ 
■□□□■■□■■□□□■■□a 

Fig.  1107. 


Diagram  Fig.  1103  illustrates  the  first  step  of  the  four  changes  ;  Diagram  Fig.  1104  illus- 
trates the  second  step  of  the  four  changes  ;  Diagram  Fig.  1105  illustrates  the  third  step  of  the 
four  changes  ;  Diagram  Fig.  1 106  illustrates  the  last  step  of  the  four  changes;  the  new  weave 
being  shown  in  (one  kind  of  type)  Fig.  1107. 


A  fancy  four  harness  weave  (even  sided  effect)  is  shown  in  Fig.  1108  and  the  weave  obtained 
from  it  is  given  in  Fig.  1109. 


274 


The  next  position  of  the  foundation  weave  (motive)  is  given  in  Fig.  1 1 10  and  the  new  weave 
obtained  from  it  in  Fig.  1 1 1 1 . 

The  third  position  of  our  foundation  weave  (motive)  is  given  in  Fig.  1 1 12  and  the  new  weave 
obtained  by  this  position  in  Fig.  1 1 13. 

The  fourth  and  last  possible  position  of  our  present  foundation  weave  (motive)  is  given  in 
Fig.  1 1 14  and  the  new  weave  obtained  in  Fig.  1 1 15. 

5  Harness  Weaves  for  Foundation. 


□□□□■ 

Fig.  1116. 

Fig. 1117. 

□□□□□□□□□□ 

□□□□□□□□□a 

□□□□□□□□□a 
□□■□□□□□□n 
□□□□□□□□□a 
□□□□□□■□□a 

□□□□□□□□CD 

■□□□□□□□□□ 
Fig.  1118. 

■□□□□□□□□□ 

■□saxisasa 
□□□□■□□□□a 

«□*□■□■□□□ 

['!□□□□□□□■□ 

■□□□■□■nea 
□□■□□□□□□a 

■□■□•□□can 

□□■□■□■□aa 

□□■□!!□§□■■ 

□unuffluuuua 
■□■■□□■□■a 

□  JCOUDDDBO 

11  !  1  / !  -;i  «□□ 

□□oaaaapcD 

BBUUBUBUBU 

□□□□□□Bona 
BnaaBBaaan 

£§■□■□■□§□□ 

eubbuububu 

□■□□fflSJHGa 

□□□□□□aaaa 

□BJBUMOUfflH 

□■□□□□□□can 

LJUfflM  ]BJMJM 

□BUBUUBBUM 
□□SQBQBUBB 

Fig.  1119. 

Fig.  1120. 

Fig.  1121. 

■■□■□■□■□□■■□■□■□■□a 
■□■■□□■□■□■□■■□□■□■■  i 
□buubbubububuubbubub 
■□■□■□■■□□■□■□■□■■□a 

■■□□■□■□■□■■□□■□■□■a 

□  □■■□■□■□■□□■■□■□■_  jB 

■□■□■■□□■□■□■□■■□□■ j 
□■□■□□■■□■□■□■□□■■□a 

□□■!!■□■□■■□□■□■□■□■■ 

■■□■□■□■□□■■□■□a;:  buu 
■□■■□□■□■□■□■■□□■'_":■  j 

■JIQIJIIlul   I  ■  ■■ 

■■      ■   ■   ■   ■■      ■   ■  ■ 

,■■  ■  ■  ■  ■■  ■  ■  ■ 
■■■■■■■■■  ■ 

□■□■□□■■□■□■□■□□■■□■ 
□□■□■□■□■■□□■□■□■□■■ 

Fig.  1122. 


In  Fig.  1 1 16  the  5  leaf  satin  filling  effect  is  given  which, with  its  corresponding  warp  effect — 
Fig.  1 1 17 — is  used  in  the  construction  of  the  new  weave  Fig.  1122  ;  being  derived  by  the  charac- 
teristic four  changes  given  in  diagrams  1118,  1119,  ii2oand  1121. 


□■□□□ 

□  JUBU 

Fig.  1123. 


■□□□□■□□□□□ 

m  iu  wjwji  u 
□□□□□□□□■" 
■□bdbduub;: 
□□■□□□□□□c 

□□BUM  JMUBZ 
□□□□□□■□□Z 

■□■□□□■□BE 
■□□□□□□□□C 

§□■□§□§□□□ 

Fig. 1126. 


■□■■■ 
□■■■■ 
■■■■□ 

Fig.  1124. 


pwpsnuumuu 
nuffiuuuuann 
mum:  j  Muun  1 

□□□□□□»□□□ 

BtUUUBUBnBB 

euuuuuauua 
f  !Ui  »nuuubu 
□□□□»□□□□□ 

□□BUBUMBPU 

□□□□□□□□era 
Fig. 1127. 


□□□□□□□□□□ 
□□■□□□□□□a 
□□□□□□^uuu 
□□□□□□■uuc 
□□□□□□□uuc 
■□□□□□□uuc 
□□□□□□□□□□ 
□□□□■□□□□c 
□□□□□□□□□c 

□□□□□□CCIBU 

Fig.  1125. 


□□□BfflBUQUH 

EQUUBUQUBB 

[  !i  o  1  j  1  ;nm  5 
H  VEMBDDDBD 

□Hffl^aBnBun 
□□bqbuebbu 
□buuubsbub 
bbb  huququ 
ebbububuuuh 
BaauBBBuua 

Fig.  1128. 


□□□i 


■□■□■□□□■■■□■□I 


lUnUBUBUBBBnUUBUBUl _ 
□■□■□□□■■■□■□■□□□■■■ 

■□■■■□□□■□■□■■■□□□■a 

□■■■□■□■□□□■■■UBUBUU 

□□•□■□■■■□□□■□■□■■■a 
".;□□■■■□■□■□□□■■■□■ 
■■■□□□■□■□■■■□□□■□■a 
■■□■□■□□□■■■□■□■□□□a 
■□■□■■■□□□■□■□■■■una 
□□□■■■□■□■□□□■■■□■□a 
■□□□■□■□■■■□□□■□■□■a 
■  ■      ■■■  ■  ■  ■■■ 
;G  ■  iniiiunuiu 
□■■■□■'  "]■□□□■■■□■□■□□ 

GUBaBQBBBU  JUBUBUBBBO 
□BUnUBBBUBUBUDUBBBUB 
III         B    ■    ■■■         ■  ■ 

bb  '  ibgbuugbbb-b'  bg  " .  b 
ii  iii      i  i  hi 

Fig.  1129. 


The  next  position  for  placing  our  motives  or  the  foundation  weaves,  is  given  in  Figs.  1123 
and  1 124. 

Diagrams  1125,  1126,  1127,  and  1128  illustrate  the  four  changes  required  to  produce  the  new 
weave  Fig.  1 129. 


■□□□□ 
□□bod 
□□□□■ 
□■□□□ 
□□□■□ 

Fig. 1130. 

□BBBB 
■!□■■ 
■■■■□ 
BUBBB 
BBBQB 

Fig.  1131. 

□□□□□□□□□□ 
■moDoncon 
□□□□□□□□□a 
□□□□■□□□□a 
□□□□□□□□□□ 
□□□□□□□□an 
■□□□□□□□□□ 
□□■□□□□□□□ 
□□□□□□□□□□ 
□□□□□□■□□□ 
Fig.  1132. 

□□□□□□□□■a 

□□-ao  u  iiTi  li 
□□■□□□□□□□ 
BaauuaBQBa 
□□□□■  :□■□□□ 
BasuBUBunn 
■□□□□□□□□□ 
■□□ububobq 
□□□□bououu 

BUBUBUUQBa 

mnmmmamoaa 

a □□□□□□□□□ 

■□UUBJBBBU 

□□□□«□□□□□ 
MBanBUDOBU 
□□□□□□□□HQ 
□□BQBBBQBU 

cEffloauajuu 
■□botgbcsb 

□□□□□□aaaa 

□■□□□■□BHB 

nuBDBBaaaa 

□BfflBUBUUUiiJ 

bgbuuububb 

□□ububbbub 
bubbhuhuuu 

bbubudmuh 

BaDUBUBBHU 

s  ;t  n-  mr%  jm  :□ 
BBBuaaaaBa 

Fig.  1133. 

Fig.  1134. 

Fig.  1135. 

□BnnnBOBBBOBnnuBnBBB 

□□BUBBB  I  ];  B  BBBUBl  .' 
□BBBUBDUUBUBBBUBUUDB 
BUBUUUBUBBBUBUUUBUBB 
□□□BUBBB  _1BUU_jBUBBBUB 
BUBBBUBUUUBUBBBUBUUQ 
BBUBUUUB  ■■■ ^BUUUBUB 
BUOUBUBBB^IUUUIUBBBQ 
□BUBBBUBUUnBUIBBUBUU 
BBBUBUUUBUBBBUBUUUBU 
□BUQUBUBBBUBUDDBUBBB 
□UBUBBBUBUUnBUBBBUBQ 
UBBBLIBU  i  JB^BBBUBUUUB 
BUBQUUBUBBBUBaUUBUBB 
□UUBUBBBUBUUUBUBBBUB 
BUBBBUB  7JUBUBBBUBUOU 
BBQBUUUBUBBBUBUU'UB  JB 
■□□□■□■■■'IILJ  lUBaBBBD 

□■□■■■□■□□.□■□■■■□■□a 

BBBUBUUUBUBBBUBUUUBU 

Fig.  1136. 


The  next  position  for  placing  the  5  leaf  satins — our  foundation  weaves — is  given  in  Figs.  1 130 
and  1 131. 

Diagrams  1132,  1133,  1134  and  1135  show  the  four  changes  and  Fig.  1136  the  new  weave 
obtained. 


275 


The  fourth  position  of  our  5  harness  foundation  weave  as  given  in  Figs.  1 137  and  11 38  results 
in  the  new  weave  Fig.  1 143,  and  which  corresponds  to  the  formerly  obtained  weave  Fig.  1 129. 


i  ■■■  ■  ■  ■■■  ■  ■ 
■■■  ■  ■     ■■■  ■  * 


■  i  □□ 

Fig. 1137. 

■  ■■■ 
■■■  ■ 
:  ■■■■ 
■■  ■■ 

Fig.  1138. 

□□□□□uCCCO 
■ 

■  ucaa 
.  □□□□□□□□□□ 

.  1    L  ..  j    .'     1.  .J.  ..  i 

m        a  •!  □!  j 

□□□□■□□□□□ 

n.    i;  :m  n  i   ] 

□  _!□□□□■□□□ 

■□□□BDBDBD 
■□□□□□._□□□ 

□□□□■□□□□□ 

□□■nBDBDBa 

□□□□□□□□■□ 

■□■□□□!!□■□ 
Fig.  1140. 

BnCCHM^DBD 

□□□□□□□□HO 

S 

Hi  lil] 

1 1  ■ 

B 

■■aataoioaa 
Fig.  1141. 

Fig.  1139. 

□i  w  1  :    :  i  11 

[  J|  L:l  1.  ,1  IBM  1 

a      ama\  a  1 

BM       :l  Lil  i;  jM 

a  □  is 

[.II.  Iffli  Ol  jUM 

h;  a  ) 

Bl  1 

Fig.  1142. 

■  ■  ■■■      ■'  ■  ■■■ 

■□■□□□■■■[..■'  ■       ■■■  I 

Fig.  1143. 


Diagrams  1139,  1140,  1141  and  1142  are  the  four  changes. 

The  fifth  and  last  possible  position  of  the  foundation  weaves  as  given  in  Figs.  1144  and  1 145 
results  in  new  wreave,  Fig.  1 150,  being  in  this  instance  again  a  duplicate  of  a  former  weave  (1 122). 


□□□■□ 
■   _  -j 
□□■□□ 
i  ■ 

□■□□□ 

Fig.  1144. 


□□□□□□■□□□ 

■□■□■□!_□■□ 

■□□□□□□□□□ 

□□bdbdbobd 
□□□□■□□□□□ 

■□SDMI 
□□□□□□L □■□ 

Baai-i«a#Dun 
□□■□□□□□no 

■□□□erj«asa 

Fig.  1147. 


■□■■■ 

Fig.  1145. 


BDananaBHO 

□□□□□□&□□□ 

□■BLjaUM^JMD 

B  ....  . 

anauuBBoaa 

□  UGLjB'  !□□[  □ 

I     .  ■ 

□□□□□□□□HO 
^□□■□BBQBD 

□^□□□□□□G 

Fig.  1148. 


□□□□□□□□□□ 
□□□□□□■□□□ 

□□'_)□□  ■  .!  1 
■□□  .)□□□□□□ 

t  .  -;.) 

□□□□■□□□□□ 

□□□□□□□□□□ 
□□□□□□□□■□ 

[     i:  ;  i:'  1  :  _□ 

-"□□□□ 


□□l 

Fig. 


1146. 


m  r;.i  ana  ~:  n 

HLiHt  IULj! 

B;  ;!  H    I  i    M!  t  j 

l       :r  1:  h  : 

1  jH'  ,f  ;b;_:  1  i  m 
huh.  : 

1  .1  !'  IS  i:  il  .!  t  ;B!  ] 

c:      k  c:  ■ 

I  ;I-1B     :m   1  :   i  I 

□□□■□□□□□□ 
Fig.  1149 


■  ■  ■■  ■:  ■  ■  ma  m 
■■■■■■■■  ■■ 

■'    ■  ■:  ■  ■■     ■  ■  ■  ■ 

>■■■■■ 

!  ■  ■■  ■  ■ 

■  ■■■■■■■■■  1 

■  ■  ■  ■     ■■  ■  ■  ■  ■ 

□■■□□■  ■  ■  ■■  ■  ■  ■ 
■■■■■■    ■■  ■  ■ 

■ 

■  ■  ■     ■■  ■  ■  ■  ■■ 

I  ■■  ■  ■  ■ 

□■ 

■  ■■■■■■     ■■  ■  1 

■  ■  E  ■■  ■■■■■) 

■  ■  '[  ■   ■   ■  ■■' 

■□□■■□■□□□■□□■■□■□■□ 

Fig.  1150. 


Diagrams  1146,  1147,    1148  and 


Fig.  vss. 


1 149  illustrate  the  four  changes  necessary  for  transform- 
ing the  foundation  weaves  in  the  new 
weave. 

No  doubt  the  student  will,  by  means 
of  examples  given  thus  far,  have  mas- 
tered the  subject  of  constructing  the 
present,  so  important,  class  of  weaves; 
thus  in  our  next  examples  we  only  show 
the  foundation  weave  and  the  final  result, 
i.  e. ,  the  new  weaves. 

Weave  Fig.  1 1 5 1  is  the  foundation  for 
the  new  weaves,  Figs.  1152,  1 153,  1154, 
1 155  and  1 156,  of  which  again  two  are 
found  to  be  duplicates  of  former  weaves, 
thus  only  three  new  weaves  are  actually 
obtained. 


FlQ.I»62.. 

The  same  is  the  case  with  our  next  example — the  same  foundation  but  only  the  twill  effect 
reversed — Fig.  1157,  and  of  which  weaves  Figs.  1158,  1159,  1160,  1161  and  1162  are  obtained, 
two  of  which  are  duplicates. 

In  order  to  show  the  student  the  immense  chance  in  designing  new  weaves  by  the  present 
method,  the  accompanying  twelve  examples  are  given.  In  each  case  we  selected  only  three  (the 
best  results)  of  the  many  different  new  weaves  thus  possible  to  be  obtained. 

The  foundation  weave  is  given  by  s  type. 

Fig.  1 163  is  the  foundation  for  new  weaves  Figs.  1164,  1165  and  1166. 
Fig.  1 167  is  the  foundation  for  new  weaves  Figs.  1168,  11 69  and  11 70. 


277 


75 

11 

\  > 

) 

X 

X 

X 

X  > 

<x 

X 

X 

X 
X 

■■ 

□E 

*> 

X 

V 

X 

X 

(  X 

J' 

F«c. 


mo. 


278 


Fig.  1171 

Fig.  1 1 75 

Fig.  1 1 79 

Fig.  1 183 

Fig.  1 187 

Fig.  1 191 

Fig.  1 195 

Fig.  1 199 

Fig.  1203 

Fig.  1207 


is  the 
is  the 
is  the 
is  the 
is  the 
is  the 
is  the 
is  the 
is  the 
is  the 


foundation 
foundation 
foundation 
foundation 
foundation 
foundation 
foundation 
foundation 
foundation 
foundation 


for  new 
for  new 
for  new 
for  new 
for  new 
for  new 
for  new 
for  new 
for  new 
for  new 


weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs, 
weaves  Figs. 


1 172,  1 173  and 
1 176,  1 177  and 
1 180,  1 181  and 
1 184,  1 185  and 
1 188,  1 1 89  and 
1 192,  1 193  and 
1 196,  1 197  and 
1200,  1 201  and 
1204,  1205  and 
1208,  1209  and 


1174 
1178 
1182 
1186 
1 190 
1 194 
1198 
1202 
1206 
1210 


SHADED  FABRICS. 


Shaded  fabrics  are  produced  by  means  of  weaves  in  which  a  gradually 
exchange  from  light  to  dark  (7.  e. ,  filling  to  warp  effect  or  vice  versa)  takes 
place.  The  name  is  derived  from  the  fact,  that  by  means  of  these  weaves  we 
produce  the  effect  of  shading  in  designs.  The  shading  can  be  produced  by 
means  of  the  weave,  by  means  of  color  arrangement,  or  by  means  of  weave 
and  coloring. 

The  Shading  of  Textile  Fabrics  by  Means  of  the  Weave. 

This  is  produced  by  starting  with  weaves  having  large  warp  or  filling 
floats,  and  arranged  the  same,  gradually  shorter,  until 
obtaining  the  opposite  effect  from  the  effect  from  which 
we  started. 

►  A.    Satin  Weaves. 


To  give  a  clear  understanding  of  the  procedure,  the 
accompanying  illustration,  Fig.  121 1,  is  given.  In  the 
same  we  show  in  effect  A,  the  5 -leaf  satin  filling  effect, 
in  which  the  filling  float  equals  four  ;  the  same  is  shown 
reduced  to  three  warp-ends  {i.  e.y  to  float  over  three 
warp-ends)  in  effect  B,  being  produced  by  adding  one  riser 
to  the  left  of  each  spot  of  the  original  5-leaf  satin  filling. 
In  effect  C,  this  filling  float  has  been  reduced  to  two  ends 
(/.  e.,  the  filling  to  float  over  two  warp- threads  only). 
In  effect  D,  the  opposite  from  effect  A  is  given,  being 
nothing  else  but  the  5-leaf  satin  warp  effect. 

Comparing  effect  A  and  effect  D,  we  find  just  the 
opposite  color  (warp  or  filling)  to  show  on  the  face, 
whereas  effects  indicated  by  letters  of  reference  B  and  C, 
are  the  two  grades  of  changing  between  the  previously 
referred  to  main  effects. 

If,  in  this  example  we  refer  to  a  fabric  (for  example 
a  damask  table  cloth),  in  which  the  warp  would  be  white 
and  the  filling  red,  effect  A,  would  produce  a  nearly  clear 
red  effect,  and  D  the  opposite  or  a  nearly  clear  white 
effect. 

The  5-leaf  satin  (if  referring  to  cotton  fabrics  like 
table  covers  or  upholstery  or  similar  fabrics),  is  mostly 
used  for  cheap  fabrics,  i.  e.,  such  as  produced  with  a  low 
texture  of  warp  and  filling.     For  higher  textures  we 


Fig.  1211. 


must  use  weaves  interlacing  in  a  larger  distance  of  threads,  for  example  the  8-leaf  satin,  the  10  or 
1 2 -leaf  satin,  etc. 

To  be  sure  that  the  student  is  thoroughly  versed  with  the  construction  of  these  fabrics,  we 
have  given  in  Fig.  12 12  another  example,  dealing  in  this  instance  with  the  8-leaf  satin.  The  same 
is  shown  in  effect  A,  in  what  is  termed  technical  8-leaf  satin  filling-effect,  and  in  which  the  filling 
floats  over  seven  warp-threads.  This  float  has  been  reduced  in  effect  B  to  only  six  warp-threads 
by  means  of  adding  one  more  riser  to  the  left  of  the  original  satin  weave  previously  shown.  In 
effect  C  we  reduce  this  filling  float  to  only  five  warp-threads  by  means  of  adding  two  risers  to  the 
original  weave.  In  effect  D  the  float  has  been  reduced  to  only  four  threads  by  means  of  adding 
three  additional  risers  to  every  original  spot  of  the  8-leaf  satin  filling  face.  In  effect  E  the  charac- 
teristic float  of  the  filling  has  been  reduced  to  three  threads,  being  the  opposite  to  effect  C,  and 
which  is  produced  by  means  of  adding  four  risers  to  each  original  spot  of  the  8-leaf  satin  filling  face. 
Effect  F,  which  is  the  opposite  from  effect  B,  is  produced  by  means  of  adding  five  risers  to  each  spot 
of  the  original  satin  weave.  By  effect  G  we  meet  the  opposite  effect  from  our  foundation  effect  A, 
being  nothing  else  than  the  common  8-leaf  satin  warp  effect. 

Effect  A  and  G  are  the  main  or  foundation  effects,  whereas  effects  B,  C,  D,  E  and  F  are  the 
gradually  exchanging  between  these  two  main  effects. 

If  we  consider  our  subject  applied  to  the  manufacture  of  (for  example  table  cloths  or  similar) 
fabrics  dealing  with  a  white  warp  and  red  filling  we  find  that  effect  A  will  produce  a  nearly  all  red 
effect,  wmereas  effect  G  will  produce  a  nearly  all  white  effect.  By  means  of  referring  to  white  warp 
and  red  filling  in  table  cloth  we  are  not  limited  to  these  colors  only,  since  frequently  even  white 
warp  and  white  filling  are  used,  producing  in  this  instance  a  similar  shading  of  the  fabric,  although 
not  as  prominent  as  if  using  different  colors  in  warp  and  filling  ;  again,  as  previously  already  stated, 
these  shaded  weaves  are  not  only  used  for  table  cloth  only,  they  also  find  extensive  use  in  the 
manufacture  of  upholstery,  dress  goods  and  other  fabrics. 

This  shading  can  be  best  applied  to  satin  weaves,  although,  as  we  will  see  later  on,  we  may 
also  use  twills. 

Rale  for  Shading  Sali?i  Weaves. 

Put  the  ground  weave  (filling  for  face)  over  the  entire 
part  of  the  □  designing  paper,  which  is  required  to  be 
shaded  ;  afterward  add  one,  two,  three  or  more  spots 
(risers)  to  the  spot  which  forms  the  foundation,  or  satin 
filling  for  face.  The  heaviness  of  the  shading  is  regu- 
lated by  the  sketch  or  the  fabric.  For  example  :  In  an 
8-leaf  satin  the  difference  between  filling  for  face  and 
warp  for  face  may  be  made  with  three  or  four  changes  only, 
or  with  the  entire  seven  changes. 
Fig.  12 1 3  shows  the  shading  of  the 
5 -leaf  satin,  four  changes,  each  for  eight 
warp  threads,  giving  4x8  or  32  threads 
for  the  effect,  using  in  this  instance  every 
one  of  the  four  changes  as  explained  and 
illustrated  in  detail  by  Fig.  121 1. 

In  Fig.  1 2 14  we  used  again  the  5- 
leaf  satin  for  foundation  ;  however,  in  FlG- 1214 

this  instance  with  only  three  changes,  viz.:  ^  S".  h>  h>  giving  us  in  turn  an  exchanging 
cf  filling  floats  of  from  four  threads  to  three  threads,  to  two  threads  and  return  to  the  start. 
We  have  specially  shown  up  this  example  to  impress  the  student  that  he  is  not  compelled  to 
use  both  extreme  effects.  No  rule  can  be  given  for  where  to  start  and  stop  either  effect,  since 
the  same  is  regulated  by  the  amount  of  shading  required  by  the  design. 


280 


In  Fig.  12 15  another  example  of  shading  with  the  8-leaf  satin  is 
given,  using  in  the  same  8  picks  for  each  of  the  seven  different  effects, 
as  previously  explained  by  illustration,  Fig.  12 12  (8  picks  x  7  changes 
=  56  picks  in  repeat  of  pattern). 

B,  Twills. 

If  the  shading  in  a  fabric  is  required  to  have  the  appearance  of  rays, 
we  must  use  in  place  of  the  satin  weaves  our  common  twills.  In  the  accom- 
panying illustra- 
tions, Figs.  1 2 16 
and  12 17,  two 
examples  of  this 
kind  are  given. 
In  the  first  ex- 
ample, Fig.  12 16, 
the  points  of  in- 
terlacing of  the 
foundation  twill 
are  shown  by  a 
type.  The  ef- 
ects  (additional 
points)  as  neces- 
sary to  produce 
the  shade  are  arranged  in  a  distance  of  8  warp-threads. 

The  first  effect  (commencing  at  the  left  of  the  weave)  is  produced  by  means  of  adding  6 
new  risers,  arranging  3  points  above  and  3  points  below  the  original  spot  of  the  foundation 
twill.  The  second  effect  is  produced  by  means  of  add- 
ing 5  new  risers,  putting  3  points  below  and  2  points 
above  the  original  or  foundation  twill.  The  next  effect 
is  produced  by  only  adding  4  new  risers,  2  above  and  2 
below,  followed  by  3  new  risers  in  the  next  effect  (2 
below  and  1  above) .  Two  risers  ( 1  below  and  1  above) 
are  added  in  the  next  effect,  and  only  1  riser  in  the 
following  8  warp- threads ;  ending  the  weave  with  8 
warp- threads  of  the  foundation  twill. 

In  our  next  example,  Fig.  12 17,  the  shading  with 
the  ^2,  ^3,  and  ^  8  harness  twills  is  shown, 

each  effect  being  used  for  8  ends,  thus  8  x  5  =  40 
threads,  repeat  of  pattern. 

Fancy  Effects. 

Using  the  Combination  of  Different  Twills 
For  shading  is  clearly  explained  by  means  of  Fig.  12 18  which  represents  one  of  the  latest  styles 
of  weaves  for  ladies'  dress  goods.    In  its  construction  we  used  the 
i-j  4  harness  twill  x  2  =  8  ends. 


■■■■■■■ 
■■■■■■■ 
!■■   ■■■■■■■  HI 


Fig.  1215 


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■  b      mm    a      mm    □    ■■■■  a    mmm*  2  ■■■■■■>:<■■■ 
a      mm    a      mm    a  a    ■■■■  □  ■■■■■■■■■ 

a  ■  u  ■■  a  ■■■  a  ■■■■  a  ■■■■■bcimhhhhb 
um       a      mm    □    ■■■    e     ■■■■  □  ■■■■■  a 

■  □        ■■      □      ■■■      Q      ■■■■   E3   ■■■■■  £3 

■  a      mm    a    ■■■    c    ■■■■  □  ■■■■■  o 

■  b      mm    a    ■■■    ej    ■■■■  □    ■■■■  *  ■■■■■■-J 
»      c?      ■■    a      ■■    □    ■■■■  a    ■■■■  □ 

□      ■■    a      mm    □    ■■■■  □    ■■■■  □ 

e?      5i      a      mm    t2    ■■■■  □    ■■■■  □ 

□  ■        £        ■■  ■■■     Li      ■■■■  □ 

a      m      a      mm    a    ■■■    □    ■■■■  □  ■■■■■  a 

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■  £       mm     a      mm     a     ■■■■  a    ■■■■  sa  ■■■■■■^■■b 
a      mu     l>      mm     □     ■■■■  0     ■■■■  b 

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a    _■      2  ■■    a    ■■■    c    ■■■■  a 

^    _■      □  mm    a    mmm    o             a  *>»■■■  a  ■■■■■■cthhhm 

■  a  q    a«a    d             &  ■■■■■  e  ■■■■■■□■■■■■■■a 

■  a      mm    o    ■■■    a    ■■■■  a  ■■■■■  a 

_■      Q      ■■     o     ■■■     £S    ■■■■  q     ■■■■  ft  ■■■■■«□ 

■  □         MB      £2         ■■  ■■■■   Q      ■■■■  □ 

a  ta      ■■    c    ■■■■  &    ■■■■  a 

■       E3        ■■     O     ■■■■   Cj     ■■■■  □  ■■■■■■C 

□  ■  a  ■■  a  mmm-  &  ■■■■  □  ■■■■■■c<  ■■■■■■□■■«■■■ 
rJ      ■       c<      ■■     □     ■■■  ■■■■  □  ■■■■■  c  ■■■■■■Qnanaa 


Fig.  1216. 


Fig.  1217. 


i¥  5  harness  twill x  1  =  5  ends. 
i-3  4  harness  twill  x  3  =  1 2  ends. 

3  harness  twill xi=  3 ends. 

plain,  change,  to  bal- 
ance effect  =  2  ends. 
-2-y 3  harness  twill xi=  3 ends. 


— y  4  harness  twill  x  3  =  1 2  ends. 
-4-T  5  harness  twill  x  1  =  5  ends. 

8  ends. 
3  ends. 


4  harness  twill  x  2  = 
^y  3  harness  twill  x  1  = 
-L-  3  harness  twill  x  1  =  3  ends. 

Repeat  of  Pattern  =64  ends. 


281 

By  means  of  the  principle  of  construction  thus  given,  it  will  be  easy  for  the  student  to  design 
any  number  of  new  weaves  of  this  character. 


Fig.  1218. 

Combining  Shaded  Effects  with  Regular  Weaves. 
This  subject  is  explained  by  weave  Fig.  12 19 
showing  8-leaf  satin  shading  combined  with  a  strip  of 
plain  weaving.  In  the  practical  application  of  this 
weave  to  textile  fabrics  (dress  goods)  two  beams  are 
required  on  account  of  the  great  difference  in  inter- 
lacing of  the  8-leaf  satin  compared  to  the  plain 
weave. 


Fig.  1219. 


Fig.  1220. 


Fayicy  Effects  in  Shaded  Twills. 
A  specimen  of  such  a  weave  is  given  in  Fig.  1220  ;  being  a  diagonal  shading  produced  by 
means  of  the  ^,  iy,      and      4  harness  twill.    Weave  Fig.  122 1  shows  the  shading  in  squares 
with  the  ^-g-,      and  ^  4  harness  broken  twills. 


282 


Fig.  1221. 


Fancy  Effects  in  Shaded  Satins. 

This  grade  of  shaded  fabrics  is  shown  by  a  specimen  in  weave,  Fig.  1222  being  the  "shading 
in  squares"  with  the  5-leaf  satins. 

This  subject  of  shading  satins  and  twills  has  been  sufficiently  explained  in  beginning  of  this 
article,  so  that  no  further  details  are  required  by  the  student,  and  thus  we  now  come  to  the 

Figured  Effects 


of  which  three  examples  are  given.  Fig.  1223 
clearly  illustrates  the  principle  of  developing  a  warp 
figure  on  a  filling  satin  ground  by  shading  from 
filling  to  warp  effect.  The  outline  of  the  figure  is 
first  sketched  on  the  design  paper,  next  the  whole  is 
covered  with  the  satin  dots.  By  adding  single  dots 
where  required  any  degree  of  light  and  dark  can  be 
obtained.  As  a  rule  always  add  the  dots  (preferably 
in  single  dots)  to  the  same  side  of  the  float.  The 
effect  is  obtained  by  gradually  increasing  the  float 
from  one  to  seven,  and  thus  there  are  seven  changes 
possible  between  the  contrast  of  the  original  8  har- 
ness warp  and  filling  satins. 

Fig.  1224  shows  us  "satin  shading"  applied 
in  figures  to  otherwise  figured  fabrics.  Repeat  of 
weave  80  x  80. 


Fig.  1?22. 


Fig.  1224. 


284 

Fig.  1225  shows  us  "twill  shading"  applied  in  figures  to  twill  ground.    Repeat  of  weave 

96  x  96. 

Both  weaves  Figs.  1224  and  1225  are  what  we  commonly  call  figured  dress  goods  designs. 


Fig.  1225. 


The  Shading  by  Means  of  Color  Combinations. 

This  part  of  shading  is  a  great  deal  easier  for  the  designer  than  the  until  now  explained  and 
illustrated  procedure  of  shading  by  means  of  the  weave.  With  reference  to  which  weave  to  use  we 
have  the  greatest  possible  range  at  our  disposal,  and  only  must  be  careful  so  that  the  respective 
weave  don't  work  against  the  effect  to  be  derived.  For  example,  if  required  to  produce  shaded 
stripes  in  the  direction  of  the  warp,  the  interlacing  of  warp  and  filling  must  be  done  with  warp 
effect  weaves  ;  if  the  shaded  stripes  are  required  to  appear  filling  ways,  the  interlacing  must  be 
done  by  means  of  filling  effect  weaves.    In  the  first  instance  the  color  of  the  filling,  and  in  the 


285 


latter  case  the  color  of  the  warp,  is  of  little  consideration,  except  that  by  means  of  using  dark  or 
light  yarn,  we  either  darken  or  lighten  the  general  shade  of  color  of  the  face  of  the  fabric. 

If  the  shading  in  a.  fabric  is  required  in  both  directions  (horizontal  and  vertical)  we  must 
arrange  the  changes  of  colors  for  both  systems  of  threads  (warp  and  filling)  ;  besides  we  must 
use  a  weave  forming  face  and  back  by  equal  portions  of  warp  and  filling  ;  for  example,  the  common 


IB 

I 


■ 


Fig.  1226. 


plain  (□■)  the  ^  4  harness  twill  (  HSFi  )  the  K  6-harness  twill  (  lL  !  USS5  ),  etc. 

■■■  : 

The  construction  of  a  fabric  to  be  produced  by  means  of  changes  in  colors,  is  thus  very  simple. 
Suppose  we  want  to  produce  a  gradual  exchange  from  dark  to  light  and  back  to  dark  in  the  form 
of  stripes  lengthwise  (in  the  direction  of  the  warp)  in  the  cloth,  we  must  (for  example)  dress  our 
warp  as  follows  :    Example  I. — (A  small  effect. ) 

5  ends  light,  i  end  dark,  4  ends  light,  1  end  dark,  3  ends  light,  1  end  dark,  2  ends  light,  1  end  dark,  1  end 
light,  2  ends  dark,  I  end  light,  3  ends  dark,  1  end  light,  4  ends  dark,  1  end  light,  5  ends  dark=36  ends  repeat  of 
dressing.  * 

It  will  be  readily  seen  by  the  student  that  by  means  of  these 
dressings  of  the  warp,  as  well  as  any  similar  combinations,  a 
gradual  exchange  from  light  to  dark  and  back  to  light  is  produced. 
It  is  the  adopted  custom  with  textile  designers  to  express 
this  shading  on  point  paper,  examples  of  which  are  given  in  the 
accompanying  Figs.  1226,  1227  and  1228.  In  the  same  (Figs. 
1226  and  1227)  every  square  indicated  by  b  type  stands  for  a 
light,  and  every  square  shown  in  full  black  (■)  for  a  dark  thread. 

Thus  diagram  Fig.  1226  must  be  read  off  (/.  e.t  indicates 
to  the  designer  a  dressing  of  the  warp)  as  follows : 

8  ends  light,  I  end  dark,  7  ends  light,  1  end  dark,  6  ends  light,  1  end  dark,  5  ends  light,  1  end  dark,  4  ends 
light,  1  end  dark,  3  ends  light,  1  end  dark,  2  ends  light,  1  end  dark,  1  end  light,  2  ends  dark,  1  end  light,  3  ends 
dark,  1  end  light,  4  ends  dark,  1  end  light,  5  ends  dark,  1  end  light,  6  ends  dark,  1  end  light,  7  ends  dark,  1  end 
light,  8  ends  dark=84  ends  repeat  of  dressing. 

This  style  of  dressing  produces  a 
shade  technically  known  as  a  "one- 
sided effect." 

In  contrast  to  this  is  the  ' '  shading 
towards  each  side,"  and  of  which  an 
example  is  given  in  diagram  Fig. 
1227,  and  which  reads  off  as  fol- 
lows : 

Fig.  1227. 

8  ends  light,  1  end  dark,  7  ends  light,  1  end  dark,  6  ends  light,  1  end  dark,  5  ends  light,  1  end  dark,  4  ends 
light,  1  end  dark,  3  ends  light,  1  end  dark,  2  ends  light,  1  end  dark,  1  end  light,  2  ends  dark,  1  end  light,  3  ends 
dark,  1  end  light,  4  ends  dark,  1  end  light,  5  ends  dark,  1  end  light,  6  ends  dark,  1  end  light,  7  ends  dark,  1  end 
light,  8  ends  dark,  1  end  light,  7  ends  dark,  1  end  light,  6  ends  dark,  1  end  light,  5  ends  dark,  1  end  light,  4  ends 
dark,  1  end  light,  3  ends  dark,  1  end  light,  2  ends  dark,  1  end  light,  1  end  dark,  2  ends  light,  1  end  dark,  3  ends 
light,  1  end  dark,  4  ends  light,  1  end  dark,  5  ends  light,  1  end  dark,  6  ends  light,  1  end  dark,  7  ends  light,  1  end 
dark=i52  ends  repeat  of  dressing. 

In  some  instances,  however,  the  contrast  from  light  to  dark  is  found  too  prominent,  in  which 
case  we  make  use  of  an  additional  medium  color,  i.  e.}  use  dark,  medium,  light ;  or  dark,  medium^ 
light,  medium. 

A  dressing  of  this  kind  is  technically  explained  in  diagram  Fig.  1228,  in  which  the  dark  is 
shown  by  ■  type,  medium  by     light  by  b  type.    The  same  will  read  as  follows  : 

1  end  medium,  2  ends  dark,  1  end  medium,  3  ends  dark,  1  end  medium,  4  ends  dark,  1  end  medium,  5  ends 
dark,  1  end  medium,  6  ends  dark,  1  end  medium,  7  ends  dark,  1  end  medium,  6  ends  dark,  1  end  medium,  5  ends 
dark,  1  end  medium,  4  ends  dark,  1  end  medium,  3  ends  dark,  1  end  medium,  2  ends  dark,  1  end  medium,  1  end 


286 


Fig.  1228. 


dark,  2  ends  medium,  1  end  dark,  3  ends  medium,  1  end  dark,  4  ends  medium,  1  end  dark,  5  ends  medium,  1  end 
dark  6  ends  medium,  1  end  dark,  7  ends  medium,  1  end  light,  6  ends  medium,  1  end  light,  5  ends  medium,  1  end 
light,  4  ends  medium  1  end  light,  3  ends  medium,  1  end  light,  2  ends  medium,  1  end  light,  1  end  medium,  2  ends 
light,  1  end  medium,  3  ends  light,  1  end  medium,  4  ends  light,  1  end  medium,  5  ends  light,  1  end  medium,  6  ends 
light,  1  end  medium,  7  ends  light,  1  end  medium,  6  ends  light,  1  end  medium,  5  ends  light,  1  end  medium,  4  ends 
light,  1  end  medium,  3  ends  light,  1  end  medium,  2  ends  light,  1  end  medium,  1  end  light,  2  ends  medium,  1  end 
light,  3  ends  medium,  1  end  light,  4  ends  medium,  1  end  light,  5  ends  medium,  1  end  light,  6  ends  medium,  1  end 
light,  7  ends  medium,  1  end  dark,  6  ends  medium,  1  end  dark,  5  ends  medium,  1  end  dark,  4  ends  medium,  1  end 
dark,  3  ends  medium,  1  end  dark,  2  ends  medium,  1  end  dark,  giving  us  91  ends  in  repeat  of  dressing. 

Shading  by  Means  of  Weave  and  Colors. 

Having  thus  far  given  a  thorough  explanation  of  shading  by  means  of  weave  and  shading  by 
means  of  color,  we  have  in  the  present  instance  only  to  combine  both  subjects  into  one  example, 
producing  in  turn  a  more  prominent  effect  of  shading  in  the  respective  fabric.  A  special  explana- 
tion of  the  subject  is  unnecessary. 

SOLEIL  WEAVES. 

These  weaves  closely  resemble  our  double  satins,  only  that 
more  interlacing  of  the  warp  threads  take  place  when  the  latter  are 
not  visible  on  the  face.  Similar  to  the  satins,  the  filling  is  not 
visible  when  dealing  with  warp  effects,  and  vice  versa,  the  warp 
is  not  visible  when  dealing  with  a  filling  effect  weave. 

The  accompanying  four  illustrations  will  clearly  explain  to 
the  student  the  construction  of  these  weaves ;  of  the  same  Figs. 
1229,  1230  and  1231  are  warp  effects  and  Fig.  1232  is  a  filling  effect. 

Weave  Fig.  1229  is  designed  for  11  x  1 1  ends  repeat ;  weave 
Fig.  1230  has  for  its  repeat  8x12  ends  ;  weave  Fig.  1231  has  for 
its  repeat  8  x  16  ends  ;  and  weave  Fig.  1232  repeats  on  12x6  ends. 

By  means  of  these  weaves  the  cloth  receives  more  strength 
than  it  will  get  by  means  of  satins,  since  every  floating  warp  thread, 
at  its  proper  place,  is  closely  interweaving  into  the  body  structure. 

CHECK  PATTERNS  PRODUCED  BY  MEANS  OF  STRAIGHT  AND  FANCY 

DRAWS. 

c  D  This  is  an  excellent  method  of  producing  fancy  effects  for  worsted  suit- 

ings, dress  goods,  and  fancy  cotton  fabrics,  and  will  be  readily 
explained  by  means  of  the  accompanying  examples. 
«  In  Fig.  1233  we  show  in  A,  the  common  -T~2  8-harness 

%   twill  for  one  repeat  eight  warp  threads  and  8  picks. 
*  By  means  of  arranging  the  various  warp  threads  of  this 

weave  according  to  what  we  might  call  an  8-harness  satin  draw 
(see  Diagram  E),  we  obtain  the  granite  shown  in  Diagram  B. 

A  B 

Fig.  1233. 


FlG.i23l„ 


287 


in  Diagram  B, 


according  to  our  satin  draw,  the  original  twill  is 


DRAFT 


If  we  rearrange  effect  shown 
the  result,  as  clearly  shown  in  Diagram  D. 

It  follows,  therefore,  that  by  placing  the  pattern  B  above  the  original  twill,  as  done  by  Diagram 
C,  and  drawing  our  warp  for  8  warp  threads  straight  (1-2-3-4-5-6-7-8  harness),  and  8  warp 
threads  satin  draw  (1-4-7-2-5-3-6  harness),  a  checked  pattern  will  be  formed.  By  means 
of  the  accompanying  diagrams  the  student  will  readily  see  that  the  draft  which  produces  the  granite 
from  the  twill  in  turn  produces  the  twill  from  the  granite. 

The  draft  for  the  16  warp  threads  has  been  previously  given  and  the  harness  chain  is 
formed  by  means  of  Diagram  A  for  the  first  8  picks,  and  Diagram  C  for  the  next  8  picks, 
giving  us  in  turn  a  harness  chain  repeating  on  8  warp  threads  and  16  picks,  producing  in  the 
fabric  a  checked  pattern. 

Size  of  Checks. — The  same  weave  as  carried  on  now  for  one  repeat  only  may,  in  this  in- 
stance, be  carried  on  with  two,  three,  or  more  repeats  for  each  effect,  as  required  by  size  of  effect 
wanted. 

If  floats  should  make  trouble  in  this  method  of  designing,  one  or  two  additional  harness  will 
any  time  be  sufficient  to  remedy  this  trouble  filling-ways  in  the  fabric  ;  whereas  warp-ways,  one  or 
two  picks  placed  between  each  change  of  effect,  will  be  all  that  is  required  added  to  omit  said 
floating. 

In  every  instance  we  must  select  our  satin  like  fancy  draft  to  suit  the  repeat  of  the  original 
twill.    In  our  example  we  had  used  an  8-harness  satin  draft  for  an  8-harness  twill,  consequently 

we  have  to  use  the  fancy  draft  resembling  a  10- 
harness  satin  for  a  10-harness  twill. 

For  a  1 2 -harness  twill  for  foundation  we  have 
to  use  a  fancy  draft  resembling  a  12 -harness  satin, 
and  which  is  clearly  shown  in  the  accompanying 
illustration,  Fig.  1234,  in  which  A  again  repre- 
sents the  foundation  -y1^1^  12 -harness  twill. 
Diagram  B  shows  the  fancy  weave  obtained  by 
means  of  draft  E.  Diagram  D  shows  again  the 
foundation  twill  obtained  from  the  fancy  weave, 
Diagram  B,  by  means  of  the  fancy  draft  B  ;  and 
A  b  Diagram  C  the  fancy  weave  transposed. 

riG*  1234,  These  two  examples,  no  doubt,  will  readily 

explain  the  great  variety  cf  new  weaves  and  com- 
binations possible  to  be  obtained  in  this  manner. 

CRAPE  WEAVES. 

This  is  a  name  given  to  weaves  presenting  a  small 
seedy  effect  as  required  for  this  class  of  fabrics.  Good 
effects  for  such  fabrics  are  produced  by  means  of  the 
accompanying  weaves  Figs.  1235,  1236  and  1237. 

Fig.  1235  repeats  on  10  warp  threads  and  6  picks. 

Fig.  1236  repeats  on  6  warp  threads  and  6  picks. 

Fig.  1237  repeats  on  8  warp  threads  and  8  picks. 

The  latter  given  weave  is  an  excellent  one,  since 
by  means  of  interlacings,  the  small  floats  of  three 
are  bent  somewhat  out  of  a  straight  line. 

Frequently  more  elaborate  patterns  than  those 
given  are  required  and  of  which  we  give  one  example 
in  Fig.  1238,  repeating  on  16  warp  threads  and 
40  pi(sks. 


FIC.U38. 


Fig.  J  237. 


288 


No  special  rule  for  designing  of  fancy  effect  can  be  laid  down,  the  main  object  being  to  get 
a  perfect  all-over-effect  free  from  lines  or  rows,  and  which  only  can  be  accomplished  by  keeping 
a  corresponding  amount  of  floating  for  each  pick,  as  well  as  by  distributing  this  floating  as  regular 
as  possible. 

HUCK  PATTERNS, 

are  weaves  used  for  towelings ;  the  object  in  this  instance  being  to  produce  a  firm 
cloth  with  a  rough  surface.  The  accompanying  Fig.  1239  illustrates  a  weave  of  this 
description,  repeating  on  10  warp  threads  and  8  picks.  By  means  of  fancy  drafting 
this  weave  can  be  woven  on  5  harness. 


Fig.  1239. 


WOVEN  TUCKS. 


This  system  of  weaving  is  used  in  the  manufacture  of  fancy  dress  goods,  children's  dress 
skirts,  etc.  Although  simple  in  its  procedure,  yet  a  reference  to  it  is  in  place.  To  make  these 
tucks,  all  the  warp  forms  one  solid  fabric  for  the  ground,  then  when  the  tuck  is  to  be  formed, 
every  alternate  warp  end  or  every  two  out  of  three  warp  threads  is  only  used  for  interlacing  until 
a  sufficient  length  (according  to  length  of  tuck)  has  been  woven  when  solid  fabric  again  is 
woven.  The  warp  is  brought  off  two  beams,  and  as  soon  as  the  tuck  has  woven  the  beam  carry- 
ing the  same  lets  in  its  warp  and  the  tuck  is  pressed  forward  by  the  reed,  or,  what  is  equivalent, 

the  ground  cloth  is  let  back  up  to  the  reed  until  the 
edge  of  the  tuck  and  the  point  where  it  commenced 
being  formed  are  brought  together,  then  the  whole 
warp  again  begins  to  form  one  solid  fabric,  leaving 
the  tuck  protruding  on  the  fabric.  This  operation 
is  continued  at  intervals  greater  or  less  according  as 
required  by  the  size  of  the  tucks  or  their  distances 
apart.  For  a  clear  understanding  of  the  subject  the 
accompanying  two  weaves,  Figs.  1240  and  1241,  are 
given.  The  warp  threads  indicated  by  g  type  are 
the  ends  forming  the  tucks  ;  ■  type  indicates  the 
binder  warp.  At  that  part  of  the  weave  indicated 
by  A,  ground  fabric  is  woven,  whereas  at  the  places 
indicated  by  B,  tuck  is  woven.  Weave 


■ 

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■ 

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□ 

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B 


□BOB  BBBH 

■  BKBE3B  ■ 

□bob  mama 
m  mamam  ■ 
amam  mama 
m  mamam  m 
amam  mama 
m  mamam  m 
amau  mama 

■  mamam  ■ 
raBHH  mama 

■  mamam  m 
amam  mama 
u  mnmam  u 
amam  mama 

m  BHBHB  ■ 

amam  memo 

■  ■ 


■HBBHBB 
3BBBBB* 
BBBBE3BB 

□BBQBBtt 

mzmmemm 

□■■□■■a 

□BBQBBB 
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BBBBQBBI 
□  BBDBBEI 

□BBSBB3 
■□■■QIB 

ammamma 

■QHQIB 
BBBBBQBBH 
B   BQBHB  ■ 

amam  mama 

B  BBBQB  ■ 

amam  mama 

B  BE3B&B  ■ 
E3BCB  BQBQ 

■  mamam  m 
amam  mama 
u  mamam  m 
ouau  mama 

m  mamam  m 
amam  mama 
m  mamam  m 
amam  mama 
m  mamam  m 
amam  mama 

■  IQI'jI  ■ 

sb:2b  mama 


B 


Fig.  1240  is  arranged  1  end  tuck  to  alternate 
with  1  end  binder,  whereas  weave 


Fig.  1240. 


Fig.  1241. 


Fig.  1 241  is  arranged  for  two  ends  tuck  to 
alternate  with  one  end  binder. 
Another  method  of  weaving  tucks  (but  running  warp  ways)  is  found  in  the  manu- 
facture of 


CRIMP  STRIPES, 


Generally  they  are  produced  by  having  two  warps  at  different  tensions.  The  warp  to  weave 
the  crimp  gets  less  tension  compared  with  the  warp  of  the  solid  stripe,  which  may  be  interlaced 
with  plain,  twill  or  satin  as  required,  and  is  let  off  intermittently.    A  hard  twisted  crimp  wa*|)  will 


289 


increase  the  beauty  of  the  cloth. 
The  accompanying  illustration  Fig. 
1242  shows  us  a  design  of  this 
kind.  The  warp  beam  carrying  the 
threads  weaving  plain  (A)  is  lightly 
weighted,  whereas  the  other  beam 
carrying  the  tuck  ends  is  heavily 
weighted.  In  order  to  produce  the 
proper  effect  the  first  two  picks  (in- 
terlacing in  plain)  are  of  common 
twist,  whereas  the  next  two  picks  (3  and  4)  are  very  hard  twisted  filling.  As  clearly  seen  by  our 
illustration  these  two  picks  are  thrown,  in  part  B  of  the  weave,  entirely  on  the  back  of  the  cloth, 
and  being  very  hard  twisted,  pull  the  two  edges  of  the  stripe  closer  together,  and  thus  form  the 
characteristic  crimp  or  tuck  running  lengthways  in  the  fabric.  The  plain  interlacing  ends  form 
a  crimp  in  the  ordinary  manner  owing  to  being  lightly  weighted.  Closely  related  to  this  system 
of  weaves  (and  weaves  for  rib  fabrics,  see  page  142,)  are 


Fig.  1242. 


Bedford  Cord  Weaves. 

The  object  in  designing  Bedford  cords  is  to  form  ribs  running  in  the  direction  of  the  warp  in 
the  fabric.  They  are  mostly  used  for  cotton,  wool  and  worsted  dress  goods.  We  find  in  these 
system  of  weaves  again  the  characteristic  float  on  the  back  of  the  fabric,  which  gives  to  the  latter 
the  prominent  rib  effect.  The  floating  and  the  interlacing  for  each  rib  can  be  arranged  either  for 
one  pick  interlacing  to  alternate  with  one  pick  float ;  or  two  picks  interlacing  to  alternate  with 
two  picks  float.    One  example  of  each  kind  is  given  to  explain  the  subject. 

Fig.  1243  shows  the  change  of  1  @  1  arranged  alternately  for  each  10  successive  warp  threads, 
as  seen  by  letters  of  references  A  and  B.    Repeat  of  weave  20x4. 


ABA.B  A  B  A  B 


Fig.  1241.  Fig.  1244. 


Fig.  1244  shows  the  change  of  2  @  2  arranged  alternately  for  each  12  successive  warp  threads, 
as  indicated  again  on  top  of  the  weave  by  letters  A  and  B.    Repeat  of  weave  24x4. 

These  two  examples  will  clearly  explain  this  system  of  weaves,  any  changes  in  size  of  rib 
can  be  made — we  may  use  4 — 4  ;  5 — 5  ;  6—  6  ;  7 — 7,  etc.,  etc.  ;  again  we  may  use  two  or  more 
sizes  of  ribs,  for  example  :  6 — 10;  4 — 8 — 12,  etc.,  etc. 

These  Bedford  cord  weaves  are  also  used  in  fancy  arrangement  for  example  in  a  class  of 
Jacquard  dress  goods  known  by  the  trade  as 

Crocodile  Cloth, 

of  which  an  example  is  given  in  the  accompanying  illustration,  Fig.  1245,  and  which  will  clearly 
explain  itself  at  once  to  the  student. 


290 


Fig.  1245. 


Practically  speaking  the  ground  is  produced  on  common  plain,  whereas  in  the  figure  every 
other  two  picks  are  arranged  to  float  on  back  throughout  the  entire  width  of  the  respective  effect 
or  part  of  the  design. 

These  floats  are,  by  the  designer,  arranged  to  exchange,  viz.  :  in  one  part  of  the  design  the 

2  picks  float  during  figure  effect,  whereas  the  same 
picks  are  interlacing  in  the  next  figure  effect  of 
the  same  design  ;  the  next  2  picks  working  vice 


Fig.  1246. 


versa. 


Combination  of  Bedford  Cords. 

Bedford  cord  weaves  are  also  frequently  used 
in  combination  with  other  weaves.  Examples  of 
these  are  given  in  the  accompanying  weaves,  Figs. 
1246  and  1247. 

Weave  Fig.  1246,  constructed  with  a  re- 
peat of  40  warp  threads  and  40  picks,  can  be 
reduced  by  means  of  a  point  draw  onto  21  har- 
ness. 

Weave  Fig.  1247  is  constructed  with  96  warp 


291 


Fig. 1247. 


threads  on  9  picks.  The  same  can  be  reduced,  if  necessary,  to  8  harness,  however,  using  14 
harness  is  more  practical. 


COMBINATION  OF  WEAVES. 
Combination  of  450  Twills. 

A.    Steep  Twills  Constructed  from  450  Twills  of  Even  Repeats. 

On  pages  67  and  68  of  this  book  we  clearly  explained  the  procedure  of  constructing  these 
weaves.  One  feature  we  omitted  to  indicate  by  illustrations,  although  we  reterred  to  it  at  the  end 
of  the  article,  and  that  is  the  immense  variety  of  new  weaves  possible  to  be  constructed  in  this 
manner  out  of  the  same  two  foundation  twills.  Great  as  is  the  number  of  designs  which  may  be 
obtained  by  this  mode  of  working,  it  is  small  compared  with  what  may  be  obtained  by  other  and 
equally  systematic  methods. 

To  give  the  student  an  idea  what  combination  means,  let  us  tarn  our  attention  to  the  doctrine 
of  combinations;  by  it  we  are  able  to  obtain  an  infinite  variety.  First  let  us  examine  into  the  system 
of  combinations,  and  next  see  how  far  we  can  apply  it  to  the  work  in  hand.  The  combinations 
possible  (for  example)  of  the  letters  of  the  alphabet  taken  by  twos,  then  by  threes,  and  so  on, 
amount  to  a  number  represented  by  thirty-three  places  of  figures,  or  thirteen  billions  of  billions, 
or  one  hundred  and  thirty-nine  quintillions,  or  so  many  different  words  may  be  produced.  There 
is  this  difference  between  the  combination  of  such  things  as  the  letters  of  the  alphabet  and  the 
ends  of  a  pattern— whereas  the  letters  of  the  alphabet  are  all  different,  the  order  of  working  of  the 
ends  of  a  pattern  should  be  similar.  Still,  although  the  working  of  the  ends  should  be  similar, 
the  order  of  interweaving  of  the  picks  need  not  necessarily  be  similar;  and  again,  any  two  letters 
will  admit  of  but  one  combination,  but  two  patterns  will  admit  of  a  number  of  combinations, 
each  one  producing  a  new  pattern. 

Combinations  are  generally  taken  as  denoting  the  placing  together  of  objects,  quantities,  etc., 
and  their  alteration  or  variation  in  all  possible  ways.  Thus,  one  object  will  admit  of  no  combina- 
tion ;  two  objects  will  admit  of  one  combination  only,  provided  they  are  simple  objects,  and  as  we 
increase  the  number  of  objects,  we  increase  at  the  same  time  the  number  of  fresh  combinations 
possible. 

As  before  mentioned  two  objects  will  admit  of  one  combination  only,  viz.,  ab  ;  three  objects 
will  admit  of  three  combinations— ab,  ac  and  be  ;  four  objects  will  admit  of  six  combinations— ab, 
ac,  ad,  be,  bd,  cd  ;  five  objects  will  admit  of  ten  combinations  ;  and  so  on,  the  combination  of  any 
number  of  objects  proceeding  according  to  the  triangular  numbers  1 ,  3,  6,  10,  15,  2 1 ,  etc.,  or  a 
general  formula  will  be  *LxlN=i3  =  combinations  ;  that  is,  let  N  represent  the  number  of  objects- 
suppose  9— then  -x ®lp  =  (9x8  =  72^-2)  =  36;  or  thirty-six  will  be  the  number  of  combinations 
which  may  be  produced  from  nine  objects. 


292 


3  2 
2  2 


Now  let  us  see  how  this  will  apply  to  patterns,  and  how  far  we  may  extend  it  by  placing 
the  patterns  in  a  different  position  in  relation  to  each  other. 

In  Fig.  1248  we  show  the  common 
9-harness  regular  twill,  in  Fig.  1249 
we  show  the  ^-j^j^  9-harness  regular 
twill,  in  Fig.  1250  we  show  a  combina- 
tion of  said  two  9-harness  twills  pick  and 
pick  taken  alternately  ;  that  is,  every  un- 
even numbered  pick  (1st,  3d,  5th,  etc.,) 
is  taken  from  weave  1 248  and  would  form 
one  complete  9-end  twill  of  themselves, 
and  every  even  numbered  pick  (2d, 
4th,  6th,  etc.,)  is  taken  from  the  weave 
1249  and  would  form  again  one  twill  by 
itself. 

Now,  as  previously  pointed  out,  two 
simple  objects  permit  of  one  combination 
only,  but  two  patterns  can  scarcely  be 
called  simple  objects.  In  the  first  place 
each  pattern  occupies  nine  ends,  con. 


FlG  115V.       Fjg  izs* 


Fit  us* 


Ficist.5?      Fig  iji58. 


3equently  they  can  be  placed  in  relation  to  each  other  in  at  least  nine  different  positions,  as  clearly 
shown  by  weaves  1250  to  1258. 

The  student  will  readily  see  the  great  variety  of  weaves  he  can  produce  in  this  manner,  for 
example  let  us  consider  the  9-harness  twills ;  the  first  question  will  come  up,  how  many  twills  can 
be  made  on  9-harness? 


The  answer  for  which  will  be  46  different  twills.  Said  46  twills  can  be  combined  46X425  = 
3035  times,  in  one  position  in  relation  of  each  other,  and  since  there  are  nine  ends  we  may  produce 
io35  x  9  =  93 1 5  new  weaves  by  means  of  this  simple  combination  of  the  various  9  harness  twills. 


293 


As  big  as  this  number  of  weaves  is,  yet  we  are  not  done  with  it,  since  each  of  these  simple 
divisions  is  capable  of  rearrangement,  and  they  can  be  combined  in  rearranged  form.  Again,  an 
immense  number  of  rearrangements  can  be  used  and  thus  giving  us  an  unlimited  field  for  the  pro- 
duction of  new  weaves. 

Duplicates  or  poor  weaves  will  now  and  then  result ;  however  this  is  nothing,  if  taking  into 
consideration  the  immense  amount  of  new  weaves  we  can  obtain  in  this  manner. 

A  further  example  is  given  in  weaves  from  1259  to  1271.  In  weave  1259  we  show  a  -^-rS" 
1 1 -harness  twill  ;  in  weave  Fig.  1260  we  show  the  common  222212  11 -harness  twill.  These  two 
common  1 1 -harness  twills  are  shown  arranged  for  steep  twills,  in  eleven  different  positions,  by 
weaves  1261  to  1271.  They  are  constructed  as  the  previous  example,  one  pick  taken  alternately 
from  one  weave  and  one  pick  from  the  other  weave.  Weave  1259  we  used  in  the  same  position 
for  the  construction  of  all  of  the  weaves,  whereas  the  starting  of  weave  1260  has  been  changed 
in  every  steep  twill  as  will  readily  be  seen  by  the  student.  This  means  in  weave  1261  we  started 
with  the  first  pick  of  weave  1260.  In  weave  1262  we  started  with  the  second  pick  of  weave  1260. 
In  weave  1263  we  started  with  the  third  pick  of  weave  1260  and  so  on,  until  arriving  at  weave 
1 27 1  which  we  started  with  the  eighth  pick  of  weave  1260  for  its  construction.  Every  one  of 
said  eleven  new  steep  twills  is  different,  by  means  of  its  construction,  thus  the  student  will  see  at 
once  the  unlimited  field  of  designing  open  for  him  in  this  instance. 

B.  Combining  two  450  Twills  of  a  Different  Repeat. 
By  this  method  of  designing  we  produce  by  means  of  simple  twills,  patterns  having  a  large 

repeat.  In  all  cases  of  the  combination  of  the  two  patterns 
the  design  must  be  carried  out  to  such  a  point  as  will  give  both 
patterns  employed  a  repeat  at  the  same  moment  ;  for  example, 
let  us  consider  the  new  weave  Fig.  1274,  which  has  for  its 
foundation  the  common  — o-  4-harness  twill  Fig.  1272  and  the 
3 -harness  twill  Fig.  1273;  alternately  taking  one  warp  thread 
from  one  (1272)  and  one  warp  thread  from  the  other  (1273) 
weave  gives  us  in  return  a  weave  repeating  on  24  warp  threads  and  1 2  picks. 

One  of  the  best  features  to  the  designer  is  the  fact  that  these  patterns  can  be  produced  in  a 
most  economical  manner,  i.  e. ,  with  very  few  harness,  since  they  consist  in  most  cases  only  in  the 
combination  of  two  simple  twills.  In  the  present  instance  we  find  that  this  24  harness  weave  can 
be  woven  with  7  harness,  since  all  that  we  require  is  4  harness  for  weaving  the  — -j  4-harness  twill 
and  3  harness  for  weaving  the  — y  3-harness  twill. 

However,  when  dealing  with  a  new  weave  we  must  consider  its  disadvantages  as  well  as  its 
advantages,  and  in  the  present  instance  we  will  find  the  disadvantage  of  the  new  weave  to  consist  in 
the  different  manner  of  interlacing  of  the  warp  threads,  i.  e.,  the  difference  in  the  take  up  of  the  warp, 
since  one  warp  thread,  every  uneven  numbered  one  in  the  new  weave,  will  interlace  six  times 
with  the  filling  in  one  repeat  of  1 2  picks ;  whereas  every  even  numbered  warp  thread  of  the  new 
weave  will  interlace  eight  times  in  every  12  picks;  the  consequence  being  that  every  even  num- 
bered warp  thread  will  take  up  more  than  every  uneven  numbered  one,  a  feature  which  in  some 
instances  will  be  of  disadvantage  although  it  may  pass  off  in  light-weight  textures,  like  dress 
goods,  where  the  threads  are  only  loosely  interlacing.  To  a  certain  extent  the  trouble  might  not 
be  so  bad  in  the  present  weave  ;  however,  the  student  will  encounter  worse  effects,  except  he  is  very 
careful  in  selecting  the  proper  foundations. 

If  the  warp  is  of  an  elastic  material,  /.  e. ,  will  give,  stretch,  the  present  weave  may  make  no 
trouble  ;  however,  care  must  be  exercised,  and  the  student  in  applying  patterns  of  this  character 
to  the  fabric  must  consider  its  advantages  as  well  as  its  disadvantages.  The  twist  of  the  warp  as 
well  as  of  the  filling,  will  also  have  its  influence  ;  for  example,  if  we  use  soft,  loosely  twisted  filling, 
the  difference  in  take  up  of  the  warp  will  be  made  easier,  whereas  if  dealing  with  a  hard  twisted 
filling  the. warp  will  have  not  the  same  chance  of  recovering  its  part  after  bending  around  the 


294 


filling.  The  texture  of  the  fabric  must  also  be  taken  into  consideration,  since  if  employing  a  high 
warp  texture  it  is  difficult  for  the  warp  to  act  upon  the  filling;  in  that  case  the  warp  must  always 
bend  around  the  filling,  and  the  difference  in  take  up  previously  referred  to  will  make  trouble.  If 
necessary,  double  beams  can  easily  be  added  to  many  looms  in  which  the  harness  motion  is 
limited,  and  patterns  of  this  scope  can  thus  be  produced  with  advantage.  By  means  of  it  we  are 
able  to  produce  what  we  might  call  "jacquard  effects  "  on  harness  looms,  and  for  this  reason  the 
addition  of  one  additional  beam  may  be  of  no  consequence  to  the  manufacturer. 

In  case  the  fabrics  when  using  one  beam  will  be  imperfect,  on  account  of  the  difference  of 
take  up  of  warp,  we  are  at  liberty  to  apply  the  new  weave  (turned  45 °)  warp  for  filling  and  filling 
for  warp,  although  in  this  instance  the  harness  capacity  of  the  looms  must  be  taken  into  considera- 
tion, no  1  educing  of  the  number  of  harness  to  be  used  can  take  place.  In  this  instance  said  weave, 
Fig.  1274,  would  require  12  harness  in  place  of  the  7  harness  previously  referred  to.  This  time 
the  number  of  harness  would  make  no  trouble,  and,  in  fact,  the  weave  would  be  more  applicable 
to  a  fabric  ;  but  when  we  come  to  further  examples  where  we  use  larger  weaves  for  the  foundation, 

the  capacity  of  the  dobby  will  frequently  not 
be  sufficient  for  producing  said  weaves  in  this 
reversed  position. 

An  immense  variety  of  patterns  can  be 
produced  in  this  manner ;  however,  we  will 
only  quote  two  more  examples. 

Weave,  Fig.  1277,  is  produced  from  the  — y 
5 -harness  and  4-harness  common  twills,  one 
warp  thread  taken  from  one  weave  alternately 
with  one  warp  thread  taken  from  the  other 
weave  forms  the  foundation  for  the  construction  of  the  new  weave,  which  repeats  on  (5x4x2) 
40  warp  threads  and  (5x4)  20  picks ;  this  weave  is  quite  a  nice  little  weave  (closely  resembling 
jacquard  effects)  obtained  from  these  two  simple  twills  and  which  can  be  woven  in  this  present 
instance  with  5+4=9  harness,  although  the  student  must  again  keep  his  eye  on  the  difference  in 
the  take  up  which  now  and  then  may  make  him  trouble  in  high  textured  warp  fabrics. 

In  weave  Fig.  1278  we  show  a  most  elaborate  weave  produced  in  this  manner,  repeating  on 
168  warp  threads  and  84  picks  which  can  be  woven  by  means  of  the  common  section  draw 
shown  in  Fig.  1279  (one  warp  thread  from  one  weave  and  one  warp  thread  from  the  other  weave) 
on  14+  12  =  26  harness.  The  average  student  will  be  astonished  on  producing  such  immense 
big  weaves  or  regular  jacquard  effect  on  so  few  harness.  Our  new  weave,  Fig.  1278  has  for  its 
foundation  the  common  7813  14-harness  and  ^  12-harness  twill.  14  x  12  =  168,  being  the  repeat 
of  warp  threads  for  the  new  weave. 

The  proper  repeat  of  the  new  weave  is  proved  by  168  ~r  14  =  12  and  168  -:-  12  =  14,  i.  e.f 
both  foundation  twills  repeat  properly  on  168  warp  threads,  the  repeat  of  the  new  weave. 

Combination  of  450  Twills  with  Weaves  of  Another  System. 


Fig  iz77. 


FiG.iia*.  Fig.  12.85. 

This  procedure  will  be  readily  explained  by  a  few  examples.  The  new  weave  Fig.  1282  is  the 
result  of  combining  end  and  end,  the  ^  5-harness  twill  Fig.  1280  with  the  ^  4"narness  broken 


295 


296 


Fig  uaa 


Fig.  12.90. 


Fig.  •  Ji9 1. 


twill  Fig.  1 28 1,  producing  the  new  weave  Fig.  1282  with  a  repeat  of  40  warp  threads  and  20 
picks. 

In  weave  Fig.  1285  we  show  another  new  weave  of  that  kind,  repeating  again  on  40  warp 
threads  and  20  picks,  produced  in  this  instance  from  the  5-harness  cork-screw,  Fig.  1283,  and  the 
4-harness  even  sided  twill  Fig.  1284. 

Combination  of  Granite  Weaves. 

This  set  of  weaves  similar  to  any  other  weaves  can  be  used  for  foundation  in  the  construction 
of  our  new  combination  weaves,  as  clearly  shown  by  the  next  four  examples  having  the  same 
granite  weave  for  their  foundation,  only  placing  said  granite  weave  in  different  positions  for  starting. 

Weave  Fig.  1288  has  for  its  foundation  the  well-known  granite  weave  shown  in  Figs.  1286 
and  1287,  being  the  same  weave  only  in  different  positions  as  to  starting.  For  the  construction  of 
the  new  weave,  Fig.  1288,  one  warp  thread  is  taken  from  the  one  position  (Fig.  1286),  and  one  warp 
thread  from  the  other  position  (Fig.  1287);  weave  Fig.  1288  repeats  on  16  warp  threads  and 
16  picks. 

In  the  same  manner  we  find  weave  Fig.  1291  constructed  from  the  same  granite  as  used  in 

the  former  example,  the  latter  being 
placed  in  position  as  shown  by  Figs. 
1289  and  1290  ;  one  end  is  taken 
from  one  position  (Fig.  1289)  and 
one  end  is  taken  from  the  other 
position  (Fig.  1290),  for  the  con- 
struction of  the  new  weave,  Fig. 
1 29 1,  which  repeats  on  16  warp 
threads  and  16  picks. 

In  weave  Fig.   1294  we  find 
another  different  weave  produced 
again  from  the  same  granite,  the 
positions  in  which  we  used  said 
granite  is  shown  by  Figs.  1292  and 
1293,  one  warp  thread  taken  from 
one  and  one  from  the  other  posi- 
tion, resulting  in  the  formation  of 
the  new  weave,  Fig.  1294,  repeat- 
ing on  16  warp  threads  and  16  picks. 
In  weave,  Fig.  1295,  we  not  only  change  the  position  but  we  actually  turn  our  foundation 
granite  weave  45  °,  and  use  the  same  in  this  position  combined  with  the  original  position  of  said 
granite,  as  shown  in  Fig.  1296,  (1  @  1)  in  the  construction  of  the  new  weave,  Fig.  1297,  which 
repeats  again  on  16  warp  threads  and  16  picks. 

Combination  of  45 0  Twills  Arranged  2  @  2 ;  4  @  4 ;  3  @  3  ;  2  @  4,  etc. 

This  method  of  constructing  new  weaves  is  clearly  explained  by  means  of  weaves  Figs.  1298 
to  1 3 18,  in  every  instance  we  used  the  same  foundation  weave,  the  -y^-y  6-harness  twill. 

Weave  Fig.  1300,  repeating  on  12  warp  threads  and  12  picks,  is  the  combination  of  two 
warp  threads  alternately  taken  from  weave  Fig.  1298,  and  two  warp  threads  taken  from  weave  Fig. 
1299. 

Weave  Fig.  1303,  repeating  on  12  warp  threads  and  6  picks,  is  the  combination  of  2  warp 
threads  taken  from  weave  Fig.  1301,  and  2  warp  threads  taken  from  weave  Fig.  1302. 

Weave  Fig.  1 306  shows  us  the  construction  of  a  new  weave  (  y2  of  repeat  warp  ways)  repeating 
on  24  warp  threads  and  6  picks,  alternately,  taking  4  warp  threads  from  weave  Fig.  1304  and  3  warp 
threads  taken  from  weave  Fig.  1305. 


Fig  1 J194. 


Fig  u  96 


297 


Weave  Fig.  1309,  repeating  on  12  warp  threads  and  6  picks,  has  for  its  foundation  three  warp 
threads  alternately  taken  from  Fig.  1307,  and  three  warp  threads  taken  from  Fig.  1308. 

Weave  Fig.  1312,  repeating  on  12  warp  threads  and  6  picks,  has  for  its  foundation  2  warp 
threads  taken  from  the  original  6  harness  twill  shown  in  Fig.  13 10  running  from  left  to  right,  and 
2  warp  threads  taken  from  the  same  weave  shown  in  Fig.  131 1,  but  having  the  twill  run  in  the 
opposite  direction. 


Fig..  1315. 


Weave  Fig.  131 5  is  a  novel  effect,  repeating  on  24  warp  threads  and  6  picks  obtained  by 
drafting  4  warp  threads  from  Fig.  13 13  and  4  warp  threads  from  Fig.  13 14.  In  this  instance  we 
painted  out  four  repeats  of  the  filling  to  give  the  student  a  better  illustration  of  the  new  weave.  It 
is  an  excellent  combination. 

In  weave  Fig.  1318  repeating  on  18  warp  threads  and  6  picks  we  used  for  the  foundation  the 
6-harness  twill,  Fig.  13 16,  running  from  the  left  to  the  right  and  the  same  6-harness  twill  having 
the  direction  of  the  twill  reversed  as  shown  in  Fig.  13 17,  drafting  two  warp  threads  from  Fig.  13 16 
and  4  warp  threads  from  Fig.  13 17. 

These  few  examples  no  doubt  will  readily  explain  to  the  student  the  great  variety  of  new 
weaves  possible  to  be  obtained  in  this  manner. 

Combination  of  630  Twills. 

A.    Combining  Two  6j°  Twills  Having  the  Same  Repea^. 

This  system  of  combining  steep  twills  in  the  construction  of  new  fabrics  is  clearly  shown  in 
the  accompanying  illustrations,  Figs.  13 19  to  1336.  In  the  same  the  two  foundation  630  twills 
are  given  by  means  of  Figs.  13 19  and  1320. 

Weave  Fig.  13 19  is  used  for  the  sixteen  examples  in  the  same  position,  on  every  alternate 
warp  thread,  whereas  weave  Fig.  1320  we  started  in  each  example  one  pick  higher. 

The  drafting  is  done  alternately  one  warp  thread  from  one  weave  and  one  warp  thread  from 
the  other  weave.  This  method  of  changing  the  beginning  of  the  twill  we  might  also  use  with  the 
other  weave.  We  might  also  use  different  drafting,  all  of  which  will  clearly  demonstrate  to  the 
student  the  immense  chance  of  designing  new  weaves  in  this  manner;  besides  this,  how  many 
different  weaves  can  we  not  design  on  any  number  of  harness,  for  example  on  8 -harness?  How 
many  different  combinations  there  are  then  possible,  is  impossible  to  be  answered.    Millions  of 


298 


new  weaves  can  be  designed  in  this  manner,  in  fact  the  field  for  constructing  new  weaves  is. 
unlimited  to  the  textile  designer. 


B.    Combining  two  6j°  Twills  of  an  Uneven  Repeat. 

As  the  student  will  understand  by  this  time  this  subdivision  of  combination  weaves  permits  a 
yet  greater  variety  than  any  system  described  before.  It  is  a  division  of  weaves  where  it  is  impos- 
sible to  say  how  many  millions  of  them  can  be  designed.  We  simply  have  to  mark  that  there  is 
no  end  for  designing  these  weaves,  and  the  beauty  of  the  effects  (i.  e.,  new  weaves)  obtained  is 
that  they  closely  resemble  jacquard  designing,  and  require  the  eye  of  an  experienced  designer  to 
be  distinguished  from  harness  work.  How  nice  it  would  have  been  if  this  system  of  weaves  would 
have  been  understood  by  our  designers  years  ago,  when  wide- wale  coatings  were  all  the  rage,  and 
when  so  many  of  our  mills  put  in  jacquard  plants  for  producing  the  same  ;  there  was  no  need  for 
it  as  will  be  shown  by  the  next  six  examples,  which  will  show  the  great  variety  of  beautiful  effects 
to  be  obtained  in  this  manner. 

In  weave  Fig.  1339  we  show  one  of  these  large  diagonals  repeating  on  36  by  36  ends  pro- 
duced by  means  of  section  draw  given  below,  from  weaves  Figs.  1337  and  1338  being  respectively 
9  and  6-harness  63 0  twills. 


299 


The  type  for  indicating  the  corresponding 
part  of  the  draft  for  these  respective  foundation 
weaves  has  been  selected  to  correspond,  in  order 
that  the  subject  will  more  readily  be  understood 
by  the  student. 

In  weave  Fig.  1342  we  give  another  one  of 
these  large  diagonals  repeating  on  48  warp 
threads  and  48  picks.  For  its  construction  see 
630  twills  Figs.  1340  and  1341  repeating  re- 
spectively on  12-harness  and  24  picks;  and  8- 
harness  and  16  picks. 

In  weave  1345  we  give  another  one  of 
these  large  diagonals  repeating  on  60  warp 
threads  and  60  picks,  having  for  its  foundation 
the  steep  twill  Fig.  1 343  repeating  on  6  harness 
and  12  picks;  and  steep  twill  Fig.  1344  repeat- 
ing on  5-harness  and  10  picks. 

The  large  diagonal  weave  Fig.  1348,  re- 
peating on  84  warp  threads  and  84  picks,  has 
for  its  foundation  the  steep  twill  shown  in  Fig. 
1346  repeating  on  7 -harness  and  14  picks;  and 
the  steep  twill  Fig.  1347  repeating  on  6-harness  and  12  picks. 


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Fig  ii39. 


In  weave  Fig.  1351  we 
show  another  one  of  these 
large  diagonals  repeating  on 
120  warp  threads,  constructed 
of  steep  twill  Fig.  1349  re- 
peating on  15  warp  threads 
and  30  picks  ;  and  steep  twill 
Fig-  I35°  repeating  on  12 
warp  threads  and  24  picks. 

In  weave  Fig.  1354  we 
show  an  excellent  wTeave  of 
this  system,  repeating  on  120 
warp  threads  and  120  picks, 
and  which  has  for  its  founda- 
tion steep  twill  Fig.  1352 
repeating  on  30  warp  threads 
and  60  picks ;  and  steep  twill 
Fig.  1353  repeating  on  4  warp 
threads  and  8  picks. 

These  six  examples  will 
have  convinced  the  student  of 
the  immense  variety  of  new 
large  diagonals  he  can  produce 
in  this  manner.  On  account 
of  the  space  these  large  weaves 
require,  we  refrain  from  illus- 
trating further  examples  and 
only  quote  the  foundation  for 


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300 


producing  a  few  excellent 
results. 

Combine  the  --^-^  5" 
harness,  630  twill  with 
the  ^2X2  4-harness  63 0 
twill ;  the  result  being  a 
large  diagonal  repeating 
on  40  warp  threads  and 
40  picks. 

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1  1 


1  1 


2  2 
0  twill 


1 

2  -4 


222 
1  3  -  harness 

with  the  3- 
63 0  twill  (which 


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producing  in  this  instance 
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threads  and  78  picks. 
This  new  weave  will  be 
what  we  might  call  a  fill- 
ing effect ;  if  exchanging, 
risers  for  sinkers  in  both 
foundation    weaves  the 


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warp  effect  will  be  the  result  for  the  new  large  diago- 
nal. 

Combine  the  Vri  13-harness,  630  twill  with  the 
2 -harness  63 0  twill  (being  nothing  else  but  the  ^2- 
harness  rib  weave  warp  effect)  and  an  excellent  new  large 
diagonal  repeating  on  52  warp  threads  and  52  picks  will 
be  the  result. 

Combine  the  t^t^t^t"  11  -harness,  63 0  twill  with  the 
5-harness  630  twill  (being  actually  the  5-leaf  satin- 
warp  for  face)  and  a  beautiful  large  diagonal  repeating 
on  1 10  warp  threads  and  no  picks  will  result. 

Combine  the  -±^$--5  10-harness  63 0  twill  with  the 

8 -harness  63 0  twill,  the  result  being  a  large  diagonal 
repeating  on  80  warp  threads  and  80  picks. 

Combine  the  --^^  6-harness  63 0  twill  with  the  -^-^ 
5-harness  63 0  twill;  resulting  in  a  large  diagonal  repeat- 
ing on  60  warp  threads  and  60  picks. 

Combine  the  ^tVS-VS"  11  -harness  630  twill  with 
the  T±  5-harness  630  twill  (being  the  5-leaf  satin-warp 
effect)  and  the  result  is  a  large  diagonal  produced  with 
no  warp  threads  and  1 10  picks. 


301 


Combine  the 


5    5    4  1 


5-harness  630  twill  with  the  41 5 1*4* 4  12-harness  630  twill;  re- 


114    5  3 

suiting  in  a  new  large  diagonal  repeating  on  120  warp  threads  and  120  picks. 

Combine  the  ^T  13-harness  630  twill  with  the  3-harness  630  twill;  resulting  in  a  new 
large  diagonal  repeating  on  78  warp  threads  and  78  picks. 


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FlG.1.347. 


13^8. 


Combine  the  ^T  7-harness  630  twill  with  the  ^  3-harness  630  twill;  resulting  in  a  large  di- 
agonal repeating  on  42  warp  threads  and  42  picks. 

Combine  the  ^¥  7-harness  630  twill  with  the  ^  3  harness  630  twill;  resulting  in  a  large  di- 
agonal repeating  on  42  warp  threads  and  42  picks. 

Combine  the  rVSJSjlT4TAT1Ti  19-harness  630  twill  with  the  y—  5-harness  630  twill  (5-leaf 
satin- warp  effect);  resulting  in  a  large  diagonal  repeating  on  190  warp  threads  and  190  picks. 


302 

Combine  the  1T1¥1412-12  i 3-harness  630  twill  with  the  — ^  3-harness  630  twill;  the  result 
being  a  large  diagonal  repeating  on  78  warp  threads  and  78  picks. 

Combine  the  10-harness  630  twill  with  the  ^3  3-harness  630  twill ;  the  result  being  a 

large  diagonal  repeating  on  60  warp  threads  and  60  picks. 


Combine  the  ^T  7-harness  630  twill  with  the  ^3  3-harness  630  twill ;  the  result  being  a  new 
large  diagonal  repeating  on  42  warp  threads  and  42  picks. 

Combine  the  V^tH  12-harness  630  twill  with  the  10-harness  630  twill;  the  result 

being  a  large  new  diagonal  repeating  on  120  warp  threads  and  120  picks. 

From  these  examples  given  it  will  be  easy  for  the  student  to  construct  any  amount  of  these 
large  diagonals. 


303 


Fig.  lis*. 


304 


Combination  of  Motives  or  Weaves  2 


This  feature  of  designing  large  diagonals  has  been  shown  by  means  of  weave  Fig.  1357, 
having  for  its  foundation,  motive  Fig.  1355,  repeating  on  11  warp  threads  and  33  picks  ;  and  skip- 
twill  weave  Fig.  1356,  repeating  on  4  warp  threads  and  6  picks.  Weave  Fig.  1357  repeats  on  66 
warp  threads  and  66  picks,  and  its  construction  will  be  clearly  seen  by  means  of  draft  given  below 

Fig.  1357. 


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1356. 


the  weave  shown  in  type  corresponding  to  the  foundation  weaves.  Fig.  1355  is  only  a  motive  as 
used  in  the  construction  of  the  large  diagonal  weave  Fig.  1357,  and  no  weave  in  itself.  We  may 
thus  arrange  either  a  motive  in  connection  with  a  weave  as  foundation  for  the  new  diagonal  weave, 
or  we  can  use  two  weaves  2  @  1,  or  again  we  may  use  two  motives  (no  weaves)  for  foundation  of 
the  new  diagonal  ;  the  object  being  to  produce  a  large  and  good  design,  resembling  Jacquard  work. 


Combining  Two  750  Twills 
into  a  63 0  Large  Diagonal. 


This  is  an  excellent  meth- 
od for  producing  large  diago- 
nals in  worsted  coatings,  and 
will  prove  of  the  greatest  inter- 
est to  our  students  when  re- 
quired to  produce  said  fabrics. 

An  example  of  the  method 
of  designing  these  weaves  is 
given  in  the  accompanying 
illustration,  Fig.  1360,  which 
has  for  its  foundation  the  9 
harness  75 0  twill  given 
in  Fig.  1358,  and  the  4 
harness  75 0  twill  given 
in  Fig.  1359.  The  new 
weave  repeats  on  72 
warp  threads,  and  its 
construction  is  readily 
seen  by  the  draft  below 
the  weave,  executed 
in  type  to  correspond 
with  the  foundation 
weaves. 

Another  good  and 
large  diagonal  is  ob- 
tained by  combining 

fU^    4    2    1    112   4  f._ 

harness  75 0  twill  with 
the  y±  750  twill  (the 
latter  being  nothing 
else  but  the  5 -har- 
ness twill  having  its 
twill  line  reversed), 
resulting  in  a '  new 
weave — 630  large  diagonal — 
repeating  on  60  warp  threads 
and  120  picks. 

The  new  63 0  large  diago- 
nal thus  produced  is  a  warp 
effect ;  the  filling  effect  ob- 
tained by  exchanging  risers 
for  sinkers  in  the  foundation 
also  produces  a  good  weave. 

Combining  the  ^T^rhrV 
ViWi  13-harness  750 
twill  with  the  621412  5-har- 
ness  750  twill  also  produces  an 
excellent  63 0  large  diagonal. 


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FlG.IJGI. 


Combination  of  820  Twills  in  700 
Large  Diagonals. 

As  will  readily  be  understood  by 
the  student,  the  steeper  the  twills  are, 
as  used  in  the  construction  of  the  new 
weave,  the  steeper  the  large  diagonal 
produced,  and  which  item  in  the  case 
of  worsted  suitings,  etc. ,  is  of  the  great- 
est importance.  In  our  accompanying 
illustration,  weave  Fig.  1363,  we  show 
the  combination  of  a  20-harness  82 0 
twill  with  a  4-harness  82 0  twill,  both 
foundations  being  illustrated  respect- 
ively by  weaves  Figs.  1361  and  1362. 
Weave  Fig.  1361  will  readily  be  con- 
sidered by  the  student  as  an  82 0  twill, 
whereas  weave  Fig.  1362  might  be 
classified  only  as  an  630  twill.  This 
would  be  proper  if  considering  weave 
Fig.  1362  with  reference  to  its  twill, 
which  runs  in  the  opposite  direction  to 
the  twill  line  in  weave  Fig.  1361  ;  but 
weave  Fig.  1362  is  82 0  if  considered, 
according  to  its  construction  in  this 
instance,  in  the  same  direction  as  weave 
Fig.  1 36 1 — from  left  to  right.  By 
means  of  drafting  alternately  one  warp 
thread  from  one  weave,  one  warp  from 
the  other  weave,  we  produced  the  new 
steep  twill,  i.  e. ,  large  diagonal  given 
in  weave  Fig.  1363,  requiring  for  its 
construction  only  40  warp  threads  and 
120  picks — to  be  woven  with  24  har- 
ness. No  doubt  an  elaborate  weave 
produced  on  so  few  harnesses. 

A  Further  Chance  for  Producing  Large 
Diagonals  on  a  Low  Number  of  Harness 
consists  by  duplicating  a  given  steep 
twill  in  itself ;  however,  the  number 
of  harnesses  will  not  be  reduced  to 
such  a  large  extent  as  in  the  previously - 
given  examples.  For  example,  take 
thciViWiVi4  21  harness  630 
twill,  and  draft  it  thus  :  1-21-2-1 

-3-2 -4-3-5-4- 6  -  5  - 7 -  6  - * 
_7_p_8-/o-9-//-  10-12-  11 

-  13  -  12  -  14  -  13  ~  J5  ~  H  ~  16  ~  15 

-  iy  -  16  -18-  17  -  19  -  18  -20  -  \  § 
-21-20.  The  result  is  a  large  diag- 
onal repeating  on  42  x  42. 


307 


HOW  TO  INCREASE  THE  THICKNESS  OF  A  FABRIC  WITHOUT  SPECIAL 

BACKING  THREADS. 

Origin  of  this  Modern  System  of  Producing  Heavy  Weights. 

Up  to  the  year  i860,  when  required  to  produce  heavyweight  fabrics  for  men's  wear,  and  when 
heavy  counts  of  yarn,  with  high  textures,  heavy  fulling,  and  far  apart  interlacing  weaves  would 
not  be  sufficient  to  give  the  required  bulk  to  the  fabric  in  single  cloth,  the  adopted  custom  was 
to  use  at  once  double  cloth  weaves  for  the  construction  of  such  fabrics,  i.  e.}  use  two  systems  of  warp 
and  two  systems  of  filling  (see  pages  129  to  136).  Since  those  years  competition  more  or  less 
exerted  its  influence  upon  the  prices,  in  consequence  of  which  the  manufacturer  had  to  commence 
and  save  on  the  better  materials  used  in  the  construction  of  fabrics.  This  feature  laid  the  founda- 
tion for  fabrics  constructed  with  one  system  of  warp  and  two  systems  of  filling  being  our  regular 
"  Backing  cloth — Back  filling  cloth"  (see  pages  105  to  108).  At  the  beginning  of  time  pre- 
viously alluded  to,  shoddy,  mungo,  and  extract  wool  was  little  known  and  less  yet  used — as  a 
general  rule,  pure  wool  was  the  material  for  the  back  filling  ;  there  was  even  a  time  when  the 
merchant  required  a  dark — respectively  black  back  for  the  better  grades  of  these  more  or  less 
heavy  fabrics. 

However,  the  method  of  manufacturing  woolen  cloth  has  greatly  changed  during  the  last 
thirty  to  forty  years.  Merchants  soon  found  out  that — to  ask  for  a  dark,  respectively  black  back 
— they  were  on  the  wrong  track.  Consequently,  the  better  class  of  commission  houses  at  once 
required  "  double-faced  fabrics,"  i.  e.,  both  sides  of  the  cloth  had  to  be  manufactured  out  of  the 
same  yarn,  i.  e.,  both  sides  (face  and  back)  of  the  fabric  were  required  to  correspond  more  or  less 
in  pattern,  color,  and  quality. 

Manufacturers  of  a  better  grade  of  cloth  turned,  in  consequence,  to  the  use  of  weaves  tech- 
nically known  as  bracket  weaves,  i.  e.y  they  used  a  special  (binder)  weave  in  the  interior  structure 
of  the  cloth  and  arranged  the  face  warp  and  face  filling  to  show  on  both  sides  ;  or,  they  used  double 
cloth  weaves.  About  the  same  time  worsteds  commenced  to  get  fashionable.  The  greater  part 
of  the  best  grade  of  this  class  of  textiles — considered  as  single  cloth — are  often  found  too  light  in 
weight  even  for  the  summer  season.  If  we  would  execute  such  fabrics  for  the  sake  of  obtaining 
bulk,  in  the  double  cloth  system,  there  is  no  doubt  but  that  the  same  would  get  too  heavy,  espe- 
cially if  dealing  with  cloth  for  the  light  weight,  i.  e.,  the  summer  season;  again,  said  fabrics 
would  frequently  get  too  expensive. 

These  features  were  the  cause  for  constructing  fabrics  with  two  systems  of  warp  and  o?ie  system 
of  filling.  This  method  of  constructing  fabrics  not  only  gives  a  chance  to  increase  the  bulk  of  the 
cloth  with  a  reasonable  cheapening  of  the  fabric  as  to  its  cost  per  yard,  but  it  also  gives  a  chance 
to  add  a  fancy  back,  i.  e.,  more  or  less  to  imitate  the  face  (see  pages  114  to  122). 

Points  Against  Addi?ig  a  Back  Warp  to  Single  Cloth. 

1 .  Back  warp  cannot  be  added  to  all  single  cloth  fabrics  on  account  of  not  always  finding 
proper  points  for  stitching  the  same  to  the  face  cloth,  i.  e.,  it  is  not  always  possible  to  adjust  the 
back  warp  so  as  not  to  be  visible  on  the  face. 

2.  The  take-up  (except  if  using  the  same  texture,  weave,  and  counts  of  yarn  for  face  and 
back  warp)  is  not  always  the  same  for  both  systems  of  warp,  resulting  in  poor  weaving  (or  likely 
not  at  all  possible  to  weave)  if  using  one  beam.  Not  all  looms  are  arranged  for  2  or  3  beam  work, 
and  if  so,  it  will  increase  the  cost  of  weaving,  make  more  waste  (on  account  of  uneven  running 
out  of  warps)  and  frequently  be  the  cause  for  defects  to  the  cloth. 

3.  The  weaver,  especially  on  cloudy  days  or  looms  situated  in  a  dark  place — or  if  weaving 
by  gas  light,  may  mix  face  and  back  warp — when  tying  in  broken  ends,  i.  e.}  back  ends  to  face 
ends,  or  vice  versa,  resulting  in  imperfections  to  the  fabric,  and  thus,  after  all,  in  a  loss  to  the 
manufacturer. 


308 


Advantage  of  this  New  Method  of  Designing, 

The  manufacturer  up  to  the  time  now  tries  to  omit  a  special  back  warp,  i.  e.,  he  uses  the  one 
warp  of  the  structure  both  for  face  and  back  warp. 

The  same  arrangement  can  also  be  used  if  dealing  with  filling  examples  by  using  the  same 
pick  part  ways  for  face  and  part  ways  for  back  (although  this  system  is  less  used). 

This  modern  manner  of  adding  a  back  may  be  used  by  nearly  all  weaves,  and  has  the  follow- 
ing advantages : 

1.  You  obtain  a  smoother  fabric  than  if  using  two  systems  of  ends  (no  matter  if  dealing  with 
warp  or  filling  questions). 

2.  You  save,  under  all  circumstances,  on  the  cost  in  the  material  (since  the  texture  for  the 
warp  is  required  not  as  high)  than  if  you  would  use  a  back  warp. 

3.  You  obtain  a  softer  and  more  elastic  structure,  since  the  threads  don't  lay  exactly  par- 
allel above  each  other,  i.  e.,  since  they  change,  as  previously  mentioned,  from  face  to  back,  they 
produce  a  fabric  in  appearance  to  eye  and  handling,  more  bulkier. 

4.  Special  designs  can  be  produced  by  means  of  dressing,  on  account  of  the  threads  appearing 
and  disappearing  from  the  face,  these  new  weaves  thus  being  the  means  for  an  endless  variety  of 
new  effects. 

5.  Evenly  interlacing  single  cloth  weaves  take  up  the  warp  more  regular  than  double  cloth 
weaves,  thus  saving  the  necessity  of  a  second  beam,  resulting  in  less  labor  to  the  fixer  and  weaver, 
giving  in  turn  more  production  in  a  given  time. 

By  some  weaves  of  this  new  system  the  general  appearance  of  the  face  (compared  to  the  face 
of  the  plain  single  cloth  "weave)  may  somewhat  change,  a  feature  which  will  make  no  trouble, 
since  the  selling  samples  are  woven  with  the  new  weave  ;  and,  in  fact,  the  new  system  may  be 
just  the  means  for  producing  styles  better  selling  than  if  produced  in  the  old  manner. 

An  undisputable  fact  remains,  that  this  new  method  of  designing  weaves  for  heavy  weights  is 
far  superior  to  the  old  style  of  using  a  back  warp,  in  consequence  of  which  it  is  crowding  the 
latter  more  and  more  out  of  use,  especially  in  the  better  grades  of  goods. 

Divisions. 

As  previously  referred  to,  this  new  method  of  constructing  weaves  can  be  used  for  obtaining 
bulk  either  by  warp  or  filling,  thus  the  entire  system  can  be  placed  in  the  following  two  main 
divisions,  viz.: 

1.  Increase  bulk  of  fabric  by  the  warp  without  adding  a  special  back  warp. 

2.  Increase  bulk  of  fabric  by  the  filling  without  adding  a  special  back  filling. 


FlC  1365 


Increase  Bulk  of  Fabric  by  the  Warp  Without  Adding  a  Special  Back  Warp. 

No  doubt  the  student  is  familiar  with  the  construction  of  frabrics  made 
with  two  systems  of  warp  and  one  system  of  filling ;  however,  for  a  clear 
understanding  of  the  subject,  the  difference  between  this  method  and  the 
new  method  is  better  explained  by  a  practical  example. 
Let  us  take  the  ~%  4-harness  twill  Fig.  1364. 

Fig.  1365  gives  us  this  weave  arranged  for  two  systems  of  warp  and 
one  system  of  filling  ;  warp  arranged  one  end  face  one  end  back  ;  repeat  of 
weave  16  warp  threads  and  8  picks. 

Every  uneven  number  of  threads  (1,  3,  5,  7,  9,  11,  13  and  15)  are  face 
or  ground  and  every  even  numbered  threads  (2,  4,  6,  8,  10,  12,  14  and  16) 
are  back  warp.  The  weave  for  the  latter,  i.  e.,  the  stitching  of  the  back 
warp  to  the  face  is  done  by  means  of  the  8 -leaf  satin.  We  deal  in  this 
instance  with  two  systems  of  warp  in  which  every  one  interlaces  different. 
In  8  picks  we  find  in  this  weave  (Fig.  1365)  on  every  uneven  number  of 


Fig.  1366. 


Flfc.1367.        Tia  1368 


309 


thread  two  twills.  If  we  now  take  these  two  twills  and  divide  the  same  for  the  even  as  well  as 
uneven  ends,  we  get  weave  Fig.  1366.  Closely  examining  this  weave  (seemingly  correct  at  the 
first  glance)  we  find  that  the  distance  between  the  two  twills  varies.  This  can  be  remedied  by 
arranging  this  weave  according  to  either  Fig.  1367  or  1368. 

In  Fig.  1367  we  selected  uniformly  for  both  twills  the  shorter  distance  of  the  filling  float  of 
weave  Fig.  1366,  getting  in  turn  the  new  weave  with  the  repeat  of  7x7. 

In  weave  Fig.  1368  we  used  uniformly  for  both  twills  the  larger  distance  of  the  two  twills  in 
Fig.  1366,  getting  in  this  instance  for  the  complete  new  weave  a  repeat  of  9  x  9.  In  weaves  Figs. 
1367  and  1368  we  have  what  we  technically  called  double  satins  for  7  and  9  harness  and  which 
completely  fill  the  bill  in  this  case,  i.  ^.,'take  the  place  of  weave  Fig.  1365  and  yet  produce  a 

smoother  and  nicer  face  to  the  fabric. 
If  showing  a  practical  man  two  fabrics, 
one  woven  with  weave  Fig.  1365  and 
another  with  weave  Fig.  1367,  he  can 
only  distinguish  them  by  means  of  the 
characteristic  smooth  face  of  the  fabric 
woven  with  weave  Fig.  1367.  The 
same  feature  holds  good  if  comparing 
[368. 


0 

0 

0 

0 

0 

0 

0 

0 

® 

® 

Fig*  569. 

fabrics  woven  either  with  weave  Fig.  1365  or  weave  Fig. 

To  yet  more  in  particular  explain  the  subject  to  the  student,  the  section  of  a  fabric  woven 
with  weave  Fig.  1365  is  given  in  dia- 

•Jmmk*  Jm 


gram  Fig.  1369,  and  the  section  of  a 
fabric  woven  with  weave  Fig.  1368  is 
given  in  diagram  Fig.  1370.  For  a  bet- 
ter explanation  of  said  sections  of  fabrics 
we  give  below  each,  the  respective  part 
of  the  weave  or  design  represented  in 
said  section.  - 


Fic  .1370. 


Fig.  1371. 


Fig.  1372. 


ARRANGEMENT  OF  THREADS  1  @,  I. 

The  Plain  Weave. 

The  same  is  shown  in  Fig.  1371.    If  we  construct  this  weave  twice  above  each  other  and 
alternately  upon  the  even  and  uneven  threads,  we  obtain  Fig.  1372,  being  a  weave  technically 
known  as  the  4-harness  broken  twill,  but  which,  nevertheless,  is  the  proper 
weave  most  satisfactory  imitating  the  plain  weave  for  heavier  weight  struc- 
tures.   It  is  a  fact  well  known  to  any  designer  of  woolen  cloth,  how  hard  it 
is  sometimes  to  distinguish  these  two  weaves  from  each  other  even  in  regu- 
lar double  cloth— for  example,  heavy  fulled  Kerseys  or  Beavers.    This  4-harness  broken  twill 
with  a  proper  texture  most  satisfactory  gives  the  fabric  a  plain  woven  appearance. 

Rib  Weaves. 

Now  let  us  take  weave  Fig.  1373,  which  is  the  common  warp-rib  weave  2x4,  and 
arrange  the  same  for  the  new  system,  obtaining  in  turn  weave  Fig.  1374-  If  using  in 
connection  with  this  weave  the  necessary  high  texture  for  the  warp,  the  fabric  will 
completely  lose  the  broken  twill  effect,  and  even  the  most  experienced  practical  manu- 
facturer cannot  distinguish  the  latter  on  the  face  of  the  woven  cloth. 


Fig. 1373. 


Fig.  1376. 


m  li  Hi 
H  '"1 1 1 


□ct:b 

□1  ;□■ 
□■1  11  1 
□■i  ]i  ] 

i 

rM  i 
■ 
■ 


Fig.  1374. 


FtG»378. 


Basket  Weaves. 

Excellent  results  for  the  new  system  of 
weaves  are  obtained  by  means  of  basket  weaves,  and  of 
which  Fig.  1375  gives  the  common  4x4  basket  weave. 
Arranging  this  weave  for  the  new  system  we  obtain 


310 


weave  Fig.  1376  with  a  repeat  of  8  x  8.  Using  a  proper  texture,  even  the  most  practical  manu- 
facturer could  not,  without  closely  examining,  distinguish  which  weave  was  used  (Fig.  1375  or 

1376). 

In  weave  Fig.  1378  we  show  the  common  6-harness  basket  weave  Fig.  1377  arranged  for  the 

new  system. 

Twills. 

Common  Twills  (single  twill  effects) : — To  arrange  this  class  of  weaves  for  the  new  system 
requires,  as  a  rule,  twice  as  ma?iy  harness  minus  or  plus  one. 

By  4-harness  foundation  consequently  4x2  —  1  =  7  or 
4x2  -f  1=9. 

The  3-harness  — y  twill  (  ■■□  )  is  shown  arranged  for  the 
new  system  in  weave  Fig.  1379. 

The  arrangement  of  the  4-harness  twill  for  the  new 
system  has  been  explained  by  means  of  Figs  1364  to  1368. 

The  uneven  sided  twill  on  4-harness  (        )  is  shown  ar- 

a  mm 

ranged  for  the  new  system  by  means  of  weaves  Figs.  1380 
and  1 38 1,  which  again  represent  7  and  9-harness  double 
satins  (two  risers  to  each  foundation  spot). 

The  arrangement  of  the  ^¥  6-harness  even  sided  twill 
weave  for  this  new  system  of  designing  we  have  given  in 
Figs.  1382  and  1383  ;  whereas  Figs.  1384  and  1385  show  the 
modification  of  the  — ^  8-harness  twill  weave. 

Common  Twills  Having  Two  Twill  Effects  in  their  Re- 
peat.— The  -2-2  8-harness  twill  given  in  Fig.  1386  is  shown 
arranged  for  the  new  system  of  designing  for  heavy  weights 
by  weave  Fig.  1387.  Examining  the  new  weave  shows  us 
again  clearly  the  construction,  i.  e.}  one  repeat  of  the  old 
weave  alternately  for  every  uneven  and  every  even  num- 
bered warp  thread  of  the  new  weave. 

Fancy  Twills. 
The  same  can  also  suc- 


FlG.1387 


Fig.  13  8  9. 


cessfully  be  applied  to  the  new  method  of  constructing  weaves  for 
heavy  cloth.    An  example  will  clearly  explain  the  subject. 

Weave  Fig.  1388  shows  a  well-known  weave  of  this  kind  used 
frequently  for  piece  dyed  worsteds.  To  add  properly  stitching  a 
backing  to  this  weave  has  caused  trouble  to  many  a  designer,  yet 
we  can  readily  arrange  this  weave  for  the  new  system  as  demon- 
strated by  weave  Fig.  1389.  We  find  here  17-harness  used,  al- 
though we  might  (according  to  rule  previously  given)  use  only  15- 
harness ;  but  that  number,  especially  by  this  weave,  results  in  an 
uneven  crossing  of  the  threads,  since  the  single  cloth  weave  Fig. 
1388  shows  us  a  3  section  arrangement,  and  since  15  can  be  divided 
by  3,  the  uniform  divisor  would  be  found  too  soon,  resulting  in  an 
uneven  crossing  of  the  various  harnesses. 

Steep  Twills. 

This  system  of  twills  occasionally  may  also  require  increase  in 
weight  by  means  of  our  new  method,  hence  an  example  is  quoted 
to  explain  the  subject. 


311 


Weave  Fig.  1390  shows  us  a  630  twill  (derived  from  the  common 
The  same  is  shown  arranged  for  the  new  system  by  means  of  weave 
Fig.  1 39 1  ;  if  using  ■  for  riser  and  □  and  a  for  sinkers.  Examining 
this  weave,  as  thus  indicated,  we  find  the  warp  threads  to  float  under 
20  picks  in  succession  in  the  large  float.  With  high  textured  fabrics 
this  float  may  not  be  too  much,  but  with  medium  or  low  textured  cloth 
it  will  be  found  too  excessive  ;  hence  we  arranged  this  float  to  interlace 
once — not  visible  on  the  face — between  two  risers,  as  clearly  shown 

by  s  type,  in  which  in- 
stance consider  ■  and  b 
for  risers  and  □  for  sink- 
ers. This  same  "cut- 
ting off"  of  the  float 
can  be  done  wherever 
required  with  any  weave 
weaves  Figs.  1384  and 


4  i_i 

^6  7 


16-harness  twill) 


Fig. 1390 


I 


I 


i 


1 


Fig.  1591 


of  this  new  system — 
1385,  if  necessary,  could 
have  been  treated  in  this  manner. 


.I5>5j 


FlG.I59t. 


Corkscrew  Twills. 
For  explaining  this  subject  let  us  take  the  com- 
mon 1 1 -harness  corkscrew  given  in  Fig.  1392  and 
arrange  this  weave  for  the  present  system  of  heavy 
weight  structures.  This  will  result  in  obtaining 
either  weave  Fig.  1393  or  1394.  In  either  one  of 
these  two  weaves  we  find  each  original  warp  float 
extended  one  point,  as  clearly  shown  by  £  type. 

Practical  trials  proved  the  necessity  of  adding 
these  points,  since  the  cloth  if  woven  with  ■  only 
for  riser,  presents  a  too  far  apart  position  of  the 
twills  ;  whereas  this  trouble  was  at  once  remedied 
by  adding  said  h  spots  for  risers,  i.  e, ,  using  ■  and  ■  for  warp  up  =  risers  and  □  warp  down  =  sink- 
ers.   If  using  weave  Fig.  1394  we  must  use  a  higher  warp  texture  compared  to  employing  weave 

Fig.  1393- 

Weave  Fig.  1395  gives  us  the 
frequently-used  13-harness  cork- 
screw, and  which  we  arrange  for 
the  present  system  of  heavy  weights 
in  weave  Fig.  1396.  Examining 
cloth  woven  with  this  weave  from 
the  loom,  we  find  it  rather  open  in 
appearance,  but  the  finishing  pro- 
cess will  remedy  this  trouble  at 
once,  producing  a  perfect,  clear, 
smooth  face  to  the  fabric. 

Broken  Twills. 

This  sub-division  of  the  twill 
weaves  can  be  readily  applied  to  the 
present  system  of  heavy  weight 
fabrics,  as  shown  by  examples  Figs. 
1397  to  1400. 

In  the  new  weave  Fig.  1398 


FlG.I<»00. 


312 


(obtained  from  the  common  broken  ^¥  twill  12  warp  threads  F  and  12  warp  threads  \  given  in 
weave  Fig.  1397,  we  find  the  same  procedure  employed  as  formerly  explained  by  Fig.  1382  ; 
whereas  weave  Fig.  1400  (see  broken  twill  Fig.  1399  for  foundation)  we  find  more  or  less  differ- 
ing in  its  construction  from  the  present  method.  This  difference  was  not  absolutely  required,  and 
only  employed  to  prevent  the  long  floats  otherwise  occurring,  and  what  we  prevented  by  dividing 
the  repeat  of  the  foundation  weave  in  two  parts  (filling  ways),  as  clearly  seen  by  examining 
weave  Fig.  1400.  If  we  had  arranged  the  entire  floating  alternately  for  the  even  and  uneven 
threads,  as  done  in  the  preceding  examples,  we  would  have  required  an  additional  stitching,  as 
shown  in  the  former  example  Fig.  1391. 

Checker- board  Twills. 

For  explaining  this  system  of  weaves  let  us  take  single  cloth  weave  Fig.  1401  ;  repeat  16  x  16. 

At  a  first  glance  it  seems  easy  to  arrange  this 
weave  (and  consequently  any  other  of  this  sys- 
tem) for  the  present  method  of  constructing 
heavy  weights,  since  any  one  would  think  that 
all  we  have  to  do  is  to  arrange  one-quarter  of 
the  weave  for  the  even  and  the  other  quarter 
for  the  uneven  threads  in  the  new  weave  as 
shown  by  example  Fig.  1403.  This  procedure 
is  correct  for  theory  on  designing  paper  ;  how- 
ever, practical  work  on  the  loom  will,  if  a  per- 
fect smooth  face  in  the  fabric  is  desired,  dem- 
onstrate that  this  weave  Fig.  1403  is  no  good, 
since  said  weave  will  show  prominent  cross 
stripes  in  the  fabric,  caused  by  the  sudden  ex- 
changing of  the  warp  threads  from  face  to 
back.  This  imperfection  can  easily  be  corrected  by  arranging  the  4-harness  broken  twill  ac- 
cording to  weaves  Figs.  1367  or  1368,  i.  e.,  as  done  according  to  the  first-mentioned  weave  in 
Fig.  1402. 

Satins. 

Let  us  begin  with  the  4-harness  broken  twill,  Fig.  1404,  and  arrange  the  same  for  the  present 
system  of  weaves,  which  will  result  in  obtaining  the  new  weave  given  in  Fig.  1405.  The  same  is 
an  excellent  weave  for  heavy  weight  fabrics  which  require  to  show  no  twill  on  the  face,  and  is  a 
weave  also  to  be  used  with  advantage  for  double  and  twist 
fabrics  or  other  warp  effects.  This  weave  also  may  be  used 
for  rough-faced  overcoating  as  well  as  clear  and  mixed  ' 1  hair- 
lines ' '  by  using  the  required  color  arrangement  for  warp  and 
filling. 

Weave  Fig.  1406  is  the  5 -leaf  satin  warp  for  face  and 
which,  arranged  1  @  1,  produces  the  new  weave  Fig.  1407  (8- 
harness  steep  corkscrew). 

At  the  beginning  of  the  explanation  of  this  new  method 
of  designing  weaves  for  heavy  weight  fabrics  we  mentioned 
that  this  system  of  designing  frequently  produces  novel  and 
r.seful  weaves.  This  is  especially  the  case  with  the  regular 
satins  (for  example  5,  7,  8,  9,  10,  etc.),  provided  we  repeat  the 
same  once,  twice  and  oftener ;  and  which  is  clearly  demon- 
strated by  examples  Figs.  1408  and  1409.  These  weaves  actu- 
ally belong  or  are  ' '  corkscrews  "  (see  pages  68-74),  and  produce  by  means  of  its  stuffer  filling 
the  face  and  back  of  the  fabric  by  the  warp. 


■■  ■  ■■■■  ■  ■■■  ■■■■  ■  ■■■■ 
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b  ■■■■  ■  m  ■■■■  ■  ■■■■  ■ 
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Fia.  i*roi. 


Fig?  i^oz.. 


Fig  1405.  ■   /  Fic.i<r07 


1  toe.  ( 


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■  III  ■ 
B3BHBB  BBS 
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FiG.i*»oa 


Fig  t<»09 


313 


s 


Regular  Granite  Weaves. 
Weave  Fig.  14 10  shows  a  well-known  8-harness  granite,  obtained  from  the  8-leaf  satin.  The 

same  is  shown  applied  to  the  present  system  in  weave  Fig.  141 1. 

A  great  many  of  these  granite  weaves  arranged  for  the  new 
system  require  double  the  number  of  harness,  minus  three  ;  this 
will  give  us  for  the  present  example  Fig.  1410,  8x2  —  3=13- 
harness,  being  the  number  of  harness  required  by  the  new  weave 
Fig.  141 1. 

Fig.  14 1 2  is  another  granite  greatly  in  favor  with  at  present, 
and  which  is  shown  arranged  for  the  new  system  in  Fig.  14 13. 

Granite  Weaves  with  Twill  Effects. 
This  system  of  weaves  can  also  be  used  for  the  present 
method  of  increasing  the  bulk  of  fabrics.     An  example  of  a 
single  cloth  weave  of  this  system  is 
given  in  weave  Fig.  14 14;  the  re- 
peat of  this  weave  is  8x8,  which, 
if  arranged  for  the  new  method  of  designing  (see  weave  Fig.  141 5), 
gives  a  repeat,  for  the  new  weave,  of  15  x  30. 

This  is  double  the  number 
of  picks  compared  to  the  repeat 
of  the  warp,  and  is  caused  by  the 
arrangement  of  the  warp  threads 
in  pairs,  and  since  15  is  an  un- 
even number,  we  have  to  use  a 
double  repeat,  i.  e. ,  15  x  2  =  30 
picks  for  one  repeat. 

Weave  Fig.  141 7  shows  us 
the  single  cloth  weave  Fig.  14 16  arranged  for  the  new  method 
of  designing. 

Although  weaves  Figs.  141 4  and  141 6  are  what  we  might 
term  old  weaves,  yet  they  are,  and  will  always  be,  used  exten- 
sively in  the  manufacture  of  piece-dyed  worsteds  and  cheviots. 
Weave  Fig.  14 14  forms  an  actual  granite  twill ;  whereas  weave 
Fig.  141 6  is  an  arrangement  of  floating  with  the  5-leaf  satin 
for  motive.    Although  two  different  weaves  in 
construction,  yet  weave  Fig.  141 6  has  been 
added  to  this  division  of  weaves  since  the  ap- 
pearance of  the  face  of  the  woven  fabrics 
shows  broken  up,  i.  e. ,  a  granite  twill  effect. 
Combination  Weaves. 
By  the  previously  explained  weaves  we 
have  clearly  shown  how  to  proceed  with  vari- 
ous combinations  in  increasing  bulk  of  cloth ; 
it  is  left  to  our  discretion  which  step  to  take. 
We  always  must  be  ca,reful  to  preserve  the  gen- 
eral character  of  a  weave,  except  a  different 
face  is  required,  as  for  examples  shown  by 
weaves  Figs.  1408  and  1409. 

In  combination  weaves  (for  their  con- 
struction see  pages  90,  91,  92  and  93)  we  must 


fl 


1 


lii'iiil 

Fig.  1417. 


Fia  i*»i5. 


314 


consider  each  weave  by  itself  ;  for  example,  let  us  take  weave  Fig.  1418,  where  a  warp  rib  is  com- 
bined with  a  broken  twill.  According  to  the  treatment  of  warp  rib  weaves  as  shown  by  Fig. 
1374,  we  need  in  this  instance  a  double  repeat  in  height  for  the  new  weave,  i.  e.,  4  x  4  =  16  picks. 
With  a  ^¥  8 -harness  twill,  however,  we  need  for  the  new  weave  double  the  number  of  picks  minus 
or  plus  one — hence,  either  15  or  17  picks.  For  simplicity  let  us  take  the  number  15  ;  this  will 
give  us  for  the  repeat  of  the  rib  weave  16  picks,  and  for  the  repeat  of  the  twill  (respectively 
broken  twill),  15  picks;  and  since  15  and  16  are  prime  compared  to  each  other,  the  complete 
repeat  for  this  combination  weave,  Fig.  1419,  will  be  15x16  =  240  picks.  The  accompanying  Fig. 
1419  shows  us  the  starting  only  of  the  heavy  weight  weave,  and  which  the  student  can  easily  con- 
struct up  to  the  repeat  (240  picks).  It  will  not  be  necessary  to  quote  any  further  examples,  since 
they  would  too  closely  refer  to  the  previously  explained  weaves. 

How  to  Increase  the  Weight  of  the  Fabric  1  @  1  Yet  More. 

If  we  want  to  increase  the  bulk  of  the  fabric  yet  more  than  in  previously  given  examples 

(produce  in  turn  also  a 
yet  more  softer  handling 
cloth)  we  have  two 
chances : 

First,  arrange  the 
change  from  thread  to 
thread  less  frequently  ; 
second,  divide  the 
threads  in  three  or  more 
sections. 


■■■  ■  ■■■■■  ■  ■ 

M    ■   ■■■■■   ■  ■■■ 


Fig.  i<*:tO. 


Fig.  142. 2.. 


The  accompanying  four  weaves,  Figs.  1420,  1421,  1422  and  1423,  give  us  examples  of  this 
method  of  designing.  All  four  weaves  have  for  their  face  the  4-harness  even-sided  twill ;  how- 
ever, for  a  perfect  face  all  require  an  extra  high  warp  texture.  These  ex- 
amples will,  without  further  trouble,  explain  this  procedure  to  the  student. 

Arrangement  of  Warp  2  @  1. 

Nearly  all  common  single  cloth  weaves  can  also  be  arranged  in  this 
manner,  especially  since  we  find  by  these  weaves,  from  thread  to  thread, 
either  above  or  below,  connection  during  designing. 

Basket  Weaves  2  @  1. 

The  accompanying  illustration,  Fig.  1424,  shows  us  the  common  6-har- 
ness  basket  weave,  and  which  is  shown  arranged  for  the  new  system  in  Fig. 
1425.    If  we  wanted  to  be  very  strict  in  examining  the  new  weave,  we  find 
that  we  did  not  closely  adhere  to  the  proportion  of  2  @  1  ;  however,  the  present  combination 
gives  us  the  most  simple  arrangement  and  will,  in  practice,  produce  a  perfect  fabric. 


iG;i«tZ5. 


1  ■■■  ■  ■■■■    ■■■■  m 
■■■■  ■  ■■■  a  an 


FlG.I<t&8., 


Twills  2  @  1. 

Fig.  1426  shows  us  the  common  4-harness 
even-sided  twill,  and  which  is  arranged  for  the  new 
system  by  weave  Fig.  1427.  This  weave,  in  the  ar- 
rangement of  2  to  1,  is  actually  a  13-harness  double 
satin. 

Should  weave  Fig.  1427  produce  a  hard  fabric, 
we  may  use  the  transposing  of  this  weave  as  given  in 
weave  Fig.  1428  ;  although  the  face  of  the  fabrics 
produced  by  the  latter  weave  will  have  an  inclination 


315 


towards  an  8 -harness  twill  ;  yet  this  effect  will,  in  some  instances,  increase  the  beauty  of  the  face 
of  the  cloth. 

A  double  line  twill  is  given  in  our  next  example,  Fig. 
1429,  which  is  the  common  8-harness  twill  ^y1^,  and  which 
is  shown  arranged  for  the  new  system  of  designing  heavy 
weights  by  means  of  weave  Fig.  1430.  [LffJ 


Diagonals  2  @  1. 

No  doubt  the  reader  will  readily  understand  the  con- 
struction of  diagonal  Fig.  1431  for  the  present  system  of 
weaves,  and  which  is  shown  by  Fig.  1432.    Diagonal  Fig. 


is..:.-? 


■    ■  ■ 

13     ■  ■ 


■  ■■  ■  ■■  ■  ■■  ■  ■■ 
■■■■■■■  □     ■  ■■■■■■■ 


1 43 1  shows  us  technically  a  ^^j-j-j  8-harness  63 0  twill, 
and  Fig.  1432  is  its  execution  in  the  arrangement  of  2  to  1 
for  the  new  system  of  designing  heavy  weight  cloth.  In 
this  weave  points  of  stitching  have  been  used  for  con- 
necting the  long  warp  floats  on  the  back  to  the  body  struc- 
ture of  the  fabric,  as  shown  by  a  type  ;  this  stitching 
will  be  readily  understood  by  the  student.  Considering 
the  stitching  of  said  floats,  by  theory  we  find  them 
not  in  their  proper  place — they  should  have  been  placed 
two  picks  lower  ;  they  are  arranged  in  their  present  posi- 
tion simply  to  bring  them  (for  the  purpose  of  binding)  as 
near  as  possible  in  the  centre  of  the  float. 

Granite  Weaves  Derived  from  Satins  2  @  1. 

This  system  of  weaves  is  most  readily  arranged  for  the 
present  method  of  designing. 


The  8x8  granite  weave,  Fig. 
1433,  is  shown  arranged  for  the  new 
system  in  weave  Fig.  1434,  which  has 
for  its  repeat  11  x  11  ends.  Granite 
Fig.  1435  is  shown  executed  in  Fig. 
1436. 


Fig  i<*35 


Fig  1^6. 


creasing 


Corkscrew  Weaves  2  @  1. 
This  system  of  weaves  permits  a  similar  increase  in  its 
bulk  compared  to  weaves  previously  explained.  In  Fig. 
1437  we  show  the  common  11 -harness  corkscrew,  which 
is  shown  arranged  for  the  present  proportion  of  2  @  1  for 
heavy  weight  by  weave  Fig.  1438.  In  this  weave  we  find  a 
special  riser  added,  as  shown  by  b  type,  for  the  purpose  of 
letting  the  rib  twills  properly  connect  with  each  other. 
Fig 

Granite  Weaves  with  Twill  Effects  2  @  1. 
This  system  of  weaves  gives  us  a  splendid  opportunity  to  use  the  new  method  of  in- 
the  bulk  of  the  fabric,  as  clearly  shown  by  the  accompanying  illustrations,  Figs. 


Fig  i*t37 


■■  ma  ■  ■■ 
■■  ■■  ma  m  mm  mm 
mm  ■*  ■  ■■  ■■  ■■ 
■a  ■  ■■  ■■  1  ■■ 

■  ■■  ■■  ■■  ■■  ■* 

■  ■■  ■■ 

■  ■■  ■■  ■□  ■  ■■  ■ 


■  ■  ■  *  ■   ■■  ■■ 

■  ES    ■   ■■    ■■   ■■  ■■ 

■  ■■  ■■  ■■  ■■  ma 


316 


1439  and  1440.  By  these  weaves  we  have  to  be  careful  that  the  placing 
of  the  floats  is  arranged  equal,  and  properly  distributed,  since  otherwise 
we  would  produce  an  imperfect  fabric. 

Broken  Twills  a?id  Checker-board  Twills  2  @  1 . 
These  two  systems  of  twills  will  readily  be  explained  by  one  example. 
These  weaves  are  splendidly  adapted  for  the  present  method  of 
increasing  the  bulk  of  fabrics.    No  difficulty  will  be  experienced  by  the 

designer,  as  clearly  shown  by 


<*<t0. 


■■■■ 
■■■■  ■ 


FlG.IWL 


the  accompanying  weave  Fig. 
1 44 1,  which   is  a  "checker- 
board weave,"  having  for  its  foundation  the  common 
~2"  4-harness  even-sided  twill. 

The  principle  for  the  broken  twill  only  is  shown 
by  reference  to  one-half  of  the  design  of  Fig.  1441, 
either  the  top  or  bottom  part ;  either  one,  considered  in 
this  manner,  thus  representing  a  broken  twill  arranged 
for  the  present  system  of  heavy  weights. 

Arrangement  of  Warp  3  @  1. 


Fig.  1^2. 


Such  an  arrangement  of  weaves  may  occasionally  be  required,  however,  not  frequently  ;  hence 
only  one  example,  Fig.  1442,  is  given  for  explanation.  The  same  shows  the  common  ^¥  6-harness 
even-sided  twill  arranged  for  3  face  to  alternate  with  1  back.  No  doubt  this  weave  will  clearly 
explain  the  procedure  for  any  other  weave  required  to  be  executed  by 
this  arrangement. 
Backing  Fabrics  in  the  Filling  Without  a  Special  Back  Pick. 
Fashion  at  present  directs  to  produce  fabrics  backed  by  the  warp. 
However,  in  special  instances — for  example,  in  certain  classes  of  man- 
tle cloth  where  a  soft,  closed  back  is  required — we  can  arrange  filling 
effects  for  the  back. 

Again,  in  teaching  designing  no  special  attention  to  fashion  can 
be  given,  since  the  object,  in  this  instance,  is  to  teach  the  principles 
of  cloth  construction.  This  method  of  increasing  the  bulk  for  fabrics 
produces  cheaper  fabrics,  since  a  lower  texture  for  the  warp  can  be 
used.  Manufacturers  may  claim  that  by  increasing  the  bulk  by  the  filling  no  cheap  material  can 
be  used  for  the  face.  This,  to  a  certain  extent,  is  true,  hence  we  must  apply  the 
new  method  only  to  fabrics  of  a  better  grade.  We  will  next  consider  a  few  exam- 
ples arranged  1  to  1  as  well  as  2  to  1 . 

Rib  a?id  Basket  Weaves  Arranged  1  @  1. 
For  example,  let  us  begin  with  the      4-haruess  rib  filling  effect  shown  in 
Fig.  1443,  and  you  obtain  the  new  weave,  Fig.  1444. 

If  using  for  weave  Fig.  1444  a  proper  texture  of  warp  and  filling,  the  face  will 
be  identical  with  the  one  in  Fig.  1443.  In  weave  Fig.  1445  we  show  the  common  4-harness  basket 
weave,  which  is  shown  arranged  for  the  new  system  by  weave  Fig.  1446.  These  examples,  Figs. 
1 443-1 446  will  readily  explain  the  procedure  of  increasing  the 
bulk  for  the  entire  system  of  rib  and  basket  weaves. 

Twills  Arranged  1  @  1. 
The  same  are  easily  arranged  for  the  present  system  of  heavy 
weights.  Let  us  begin  with  weave  Fig.  1447,  the  common  *j  4- 
harness  twill,  which,  if  arranged  for  the  present  system,  results 
in  weave  Fig.  1448  ;  but  which  weave  is  imperfect,  since  by  a  Fig.ivh. 


Fig.  1  «♦*»&. 


317 


FlG.IV5Z. 


careful  examination  we  find  that  we  do  not  deal  with  an  4-hamess,  but  with  an  8-harness  twill 
instead,  since  the  distances  between  both  twill  lines  do  not  correspond,  hence  weave  Fig.  1448 

cannot  be  used  as  a  substitute  for 
the  4-harness  twill.  However,  if  we 
substitute  for  weave  Fig.  1448  either 
weave  Fig.  1449  or  1450,  a  per- 
fectly distributed  twill  will  result; 
which  one  of  these  two  weaves  to  use 
is  designated  by  the  size  of  twill 
wanted.  Fabrics  woven  with  either 
one  of  these  two  weaves  will  produce 
FiG.i<t53.  a  perfect  imitation  of  the  single  cloth 

weave  face,  and  give  a  much  smoother  face  to  the  cloth  than  the  common 
system  of  Backing  twills,  as  given  in  Fig.  558  in  this  book. 

These  few  weaves  will  readily  explain  this  division  of  the  new 
weaves. 

Corkscrews  1  @  1. 

FiG.1%55,  In  weave  Fig.  145 1  we  show  the  so  extensively  used  13-harness 

corkscrew,  which  is  arranged  for  the  new  system  of  weaves  in  two  different  ways,  as  shown 
respectively  by  weaves  Figs.  1452  and  1453.    The  construction  of 
either  will  at  once  explain  itself  to  the  student. 

The  combination  given  by  weave  Fig.  1452  will  produce  the 
lightest  weight,  and  the  one  given  by  weave  Fig.  1453  the  heavier 
weight  of  cloth. 

In  weaves  Figs.  1454  and  1455  we  show  a  filling  corkscrew 
arranged  for  the  present  system  of  fabrics.  The  extra  sinker  shown 
by  o  type  in  weave  Fig.  1455,  had  to  be  added  to  give  a  good  face  to 
the  fabric. 

Broken  Twills  1  @  1. 
This  division  of  weaves  is  readily  arranged  for  the  present  sys- 
tem of  heavy  weights  ;  all  we  have  to  do  is  to  arrange  similar  weaves,  as  given  in  Figs.  1449  or 

1450,  in  a  broken  twill  arrangement,  and  which  is  clearly 
shown  by  the  accompanying  weaves,  Figs.  1456  and  1457. 

Satins  a?id  Grayiite  Weaves  Derived  of  Satins  1  @  1. 
We  begin  to  explain  the  method  of  arranging  these  weaves 
by  means  of  the  4-harness  satin,  i.  e.,  4-harness  broken  twill 
y— ,  as  represented  by  Fig.  1458.  Transferring  this  weave 
upon  the  two  sections  for  the  purpose  of  obtaining  the  new 
weave,  and  this  by  placing  one  repeat  of  weave  Fig.  1458  first 
upon  the  one  section,  next  upon  the  other  section,  we  thus 
get  the  new  weave,  Fig.  1459.  This  weave  is  of  great  value 
to  woolen  manufacturers,  and  is  closely  related  to  the  formerly 
given  weave,  Fig.  1405. 

In  place  of  the  4-harness  broken  twill  we  also  can  use  the 
5,  6,  7,  8,  etc.,  leaf  satins.  It  will  be  easy  for  the  student  to 
prepare  these  weaves  by  rules  given. 

In  weaves  Figs.  1461  and  1462  we  show  the  granite  weave, 
Fig.  1460,  derived  from  the  8-leaf  satin  (see  weave  Fig.  445,  page  85),  arranged  for  our  new 
system  of  heavy  weight  weaves  by  two  examples,  of  which  Fig.  1462  is  designed  for  producing  a 
heavier  weight  compared  to  weave  Fig.  1461. 


Fig  Ct-57. 


Fta.u6i 


FlG.I%6X 


318 


FlG.I<r(>*. 


Granite  Weaves  with  Twill  Effects  i  @  i. 

In  weave  Fig.  1463  we  show  a  frequently-used  weave  of  this  system  of  single  cloth.  The 
same  is  readily  arranged  for  the  new  system  of  weaves  as  shown  by  Fig.  1464. 

Checker-board  and  plain  granite  weaves,  arranged 
for  the  present  system  of  heavy  weight  cloth,  are 
omitted,  since  their  execution  is  too  simple. 

If  compelled  to  produce  a  yet  heavier  fabric,  we 
refer  the  reader  to  the  process  illustrated  by  weaves 
Figs.  1420,  142 1,  1422  and  1423, 
respectively  to  weave  Fig.  1465, 
with  the  difference  that  the  weaves 

first  quoted  had  to  be  turned  45  °,  i.  e.,  warp  exchanged  for  filling  and  vice 
versa. 

Fig  K6S.^ 

To  Increase  the  Weight  of  Fabrics  by  the  Filling,  Without  Adding  a  Special  Backing,  in 

the  Arrangement  of  2  @  1. 

We  will  not  dwell  to  any  extent  on  this  method  of  constructing  weaves,  since  the  procedure 
is  very  simple  and  will  be  readily  understood  by  means  of  weaves  Figs.  1466  to  1471.  We 
simply  arrange  from  3  picks,  one  to  interlace  into  the  preceding  respectively  next  following 
pick.  If  the  reader  should  have  the  least  difficulty  of  understanding  the  subject,  we  simply 
refer  him  to  the  corresponding  warp  arrangement  previously  explained. 

Weave  Fig.  1466,  the      4-harness  twill,  is  the  foundation  for  the  new  weave  Fig.  1467. 

Weave  Fig.  1468,  the  -j1^  8 -harness  double  line  twill,  is  the  foundation  for  the  new  weave 
Fig.  1469. 

Weave  Fig.  1470,  the  well-known  8-harness  gran- 
ite, is  shown  arranged  for  the  new  system  by  means  of 
weave  Fig.  1471. 

The  Arrangement  of  3  @  1 

We  will  omit  altogether,  and  simply  refer  the  reader 
to  the  corresponding  warp  combination,  explained  by 
weave  Fig.  1442. 

Examples  and  explanations  thus  far  given  will  be 
sufficient  to  explain  this  modern  method  o:  designing 
heavy  weights  to  any  student ;  all  the  most  often 
called  for  combinations  have  been  quoted  for  the  head- 
ings of  the  various  chapters.  However,  we  want  to 
indicate  that  further  changes  in  the  principle  of  design- 
ing for  these  fabrics  are  possible,  viz,  : 

(a)  Increase  bulk  of  fabric  without  adding  a  special  back  warp,  but  using  stuffer  filling 
arranged  1  @  1. 

(b)  Increase  bulk  of  fabric  by  the  filling  without  adding  a  special  back  pick,  but  using 
stuffer  warp. 

0)  Increase  bulk  of  fabric  by  means  of  back  cloth  without  a  special  back  warp. 

(d)  Increase  bulk  of  fabric  by  means  of  back  cloth  without  a  special  back  filling. 

These  four  systems  will  little,  if  ever,  be  called  upon  in  practice,  hence  no  further  reference 
to  it  is  required.  However,  if  called  upon  to  construct  them,  no  trouble  will  be  experienced  in 
designing  the  same  or  any  further  possible  change  in  construction. 


Fig.  iub9* 


319 


BRACKET  WEAVES. 

Under  this  name  we  classify  weaves  in  which  the  body  of  the  fabric  is  enclosed,  on  face  and 
back,  by  a  special  system  of  threads. 

We  may  arrange  this  special  system  of  threads  to  enclose  the  body  of  the  fabric  either  warp 
or  filling  ways  or  in  both  directions  ;  that  means  that  said  body  structure  may  be  covered  on  both 
sides  of  the  fabric  either  by  a  special  warp,  or  by  a  special  filling,  or  by  means  of  a  special  warp 
and  filling. 

Bracket  Weaves  Constructed  with  Two  Systems  Warp  and  One  System  Filling. 

A.    Arrangement  i  %  i. 

For  explaining  the  subject  the  accompanying  illustration,  Fig.  1472,  has  been  given,  and 
which  shows  the  section  of  the  fabric  enclosed  by  means  of  a  special  warp.  Letters  of  reference 
in  our  illustration  indicate  thus  :  C,  the  interior  warp ;  i,  the  filling  ;  ,S  indicates  the  exterior 
warp  for  enclosing  (bracketing-in)  the  body  structure. 


□■□■ 

■  ■  . 

■  ■ 

Fig.  1473. 


:  aa 

[  aa  ;!  ::■ 
[  :  a  a  1  aa 
1  a  a  1  ;;■  i 

■  i'  ,□■□[  a 
a::  a  a'  i  i 
a  :□□■□■[  a 
■□□□■am 

Fig.  1474. 


Fig.  1472. 


This  diagram  will  indicate  at  once  to  the  student  that  for  such  weaves  he  must  use  frequently 
interlacing  weaves  (tight  interlacing)  for  the  body  structure,  whereas  for  the  exterior  warp  (the 
bracket  warp)  large  floating  effects  are  required.  For  body  structure  we  generally  use  the  plain 
weave. 

Fig.  1473  shows  us  the  common  -4-T  rib  weave  warp  effect.  In  weave  Fig.  1474  we  see  said 
rib  weave  placed  on  every  alternate  warp  thread  only,  on  every  uneven  warp  thread  in  the  weave 
(see  ■  type),  whereas  the  even-numbered  warp  threads,  2-4-6-8,  are  arranged  (see  □)  to  interlace 
in  the  plain  weave.  The  floating  warp  threads  of  the  -¥  rib  weave  will,  in  weaving,  arrange 
themselves  so  as  to  cover  face  and  back  of  the  fabric  and  hide  the  plain  weaving  structure. 


□□□□■■■■ 
l :  ■■■■ 

;_]_:,□■■■■ 
□□□□■■■■ 
BBBBJuaa 
■■■■□□□□ 

BBBB'JT  _"  1 
■■■■□□□□ 

Fig.  1475. 


□□□□□□□□■□■□■□■□ 
□□□□□□□□■□■□■□■a 
□□□□□■□■□■□■□ 
1  a  1  a  .  ■□■□■nan 
□~  a  :  aa  Baa  aa 
a      a  :  bkb  : 

□_  :  as  ana  aa 
; .a  a  aaa  aaa'  i 
a  aaa  aa  a  .  a 
■□■□■□•□□□□□□□□□ 

■□■BBflBElDDDHnaOH 
■□■□■□■□□□□□□HI .  C 

■  iaae  *v.      a  a 

■□■□■□■□□□□□□□□a 
■□■□■□■□□□□□□□□□ 
■□■□■□■□□□□□□□□a 

Fig.  1476. 


□□□rBBBB 
□□□■■■■□ 
□□■■■■□□ 
□■■■■□□□ 
■■■■□□□□ 
■■■□□□□■ 
■■□□□□■■ 
■□□□□■■■ 

Fig. 1477. 


□□□□□□□□■□■□■□■a 
□a  .  a  aaa  ■□■□ 
i  :  ik  aaa  aaa  :  a 
[  a  ]□  1Kb  aaa  aa  1 
aa  aaa  aa  t  a 
t  a  ■  aaa  aaa  ;  a 
r;  aaa /aaa  l  a  a 

aa  aaa  aa 
a  bkb  aa  .□[  a  a 
aaa^aaa  a  a  J 
a  aaa  ,  a  a  aa 
Baa  a a  :  a  aaa 
■□*□□□□□:  l  □■[  ■□ 
■□■□□□□□"  a  aaa  ) 
a  k  :  a  bkb  bk 
■□□□□□□□□□■□■□■a 
Fig. 1478. 


□□BBDBBD 
■□■■CL'-LB 
■■□□■■□■ 
■■□■■■□□ 
□□□■■□■■ 
□■■□□□■■ 
■■■□■■□□ 
■■□□■■■□ 

Fig.  1479. 


□□□KB  7 B □ □□BQBOOH 
□□□.  BKB  i  KBLBKC.U 
BZ7  KB    BKLLLKLn  BH 

■  □□  bkb  1  ac  1  l  aaa 
■□■a  :;a  aa^  i  aa 
aaa    a    bkb:  l  kb  ! 

■  aa  .  bkblbki  i  a 
aaa    a a  bkb  i 

[      a    a::a'  1  aa  a  a 
aa  a  a    bkb  i 
□         j.  a     1  aa  aa 
raw  aani  :i  a  <  bkb  j 

■  □■□■□□□■□  HKL  L.  L  □ 


!□■□□□□□■□■□■□□□ 

Fig.  1480. 


A  further  example  of  this  system  of  weaving  is  shown  by  means  of  weaves  Figs.  1475  and 
1476.  Weave  Fig.  1475  shows  us  the  common  4  by  4  basket,  whereas  1476  shows  us  said  basket 
arranged  for  a  bracket  weave,  i.  e. ,  every  uneven-number  warp  thread  in  the  new  weave  interlaces 
for  floating  on  face  and  back  of  the  body  structure,  which  in  this  instance  is  formed  by  means  of 
having  every  even-numbered  warp  thread  in  the  new  weave  interlace  on  common  plain. 

On  account  of  the  plain  weaving  part  of  the  fabric,  the  floating  threads  which  have  to  produce 
the  basket  effects  on  the  face  and  back  of  the  fabric  will  push  apart.  If  for  this  reason  we  would 
not  use  an  extra  high  warp  texture,  the  result  would  be  that  the  basket  effect  would  not  appear 
symmetrical  on  both  sides  of  cloth,  z.  e.,  the  squares,  as  clearly  seen  by  Fig.  1475,  would  get 
elongated  in  the  direction  of  the  filling,  for  this  reason  the  basket  weave  (in  the  bracket  weave) 
has  been  arranged  for  double  its  length  in  the  complete  weave,  and  if  producing  a  fabric  according 
to  weave  1476,  the  face  and  back  of  the  fabric  will  clearly  resemble  the  common  single  cloth, 
weave  Fig.  1475.    Further  examples  are  shown  by  means  of  weaves  Figs.  1477  to  1480.  The 


320 


□□■□□■□□■□□a 
["!□■□□■□□■□:  ■ 
r  ■  am  ■  ::m 
[  am    ■  ■ 

■  '  :bb  .■  ;i  BHD 
m::  o  ma 

■  ;  Bo  b  mzn 
ma:  m  1  ma  b  : 


construction  of  said  weaves  will  require  no  further  explanation,  and  will  be  readily  understood  by 
the  student. 

Weave  Fig.  1477  is  the  weave  used  for  floating  in  the  construction  of  the  bracket  weave  1478, 
and  weave  1479  is  the  weave  used  for  the  floating  in  the  bracket  weave  Fig.  1480. 

Of  great  advantage  to  the  manufacturer  it  will  be  to  use,  in  fabrics  in  which  this  class  of 
weaves  is  mostly  employed,  a  lustre  wool  for  the  floating  warp  and  a  common  wool  for  the  body 
warp  ;  or  give  the  floating  warp  a  special  color  effect. 

B.    Arrangement  2  @  1. 
In  weave  Fig.  1481  we  show  an  example  in  which  the  — ^  warp  effect  rib  weave 
has  been  arranged  for  two  ends  floating,  one  end  binder.    Since  the  weave  will  readily 
explain  itself  to  the  student,  no  special  explanation  will  be  required. 

Bracket  Weaves  Constructed  with  Two  Systems  Warp  and  Two  Systems  Filling. 

A.    Arrangement  1  @  1. 

For  fabrics  constructed  with  these  weaves  we  generally  use  a  cheap  material  for  the  body 
structure,  which  can  be  done,  since  the  floating  warp  and  floating  filling  completely  hide  the  body 
structure  of  the  fabric  on  face  and  back. 

For  better  explaining  this  sub-division  of  bracket  weaves  to  the  student  the  accompanying 

diagram  Fig.  1482  is  given. 
In  the  same,  S  indicates 
the  floating  warp,  C  the 
interior  warp,  0  the  floating 
filling,  and  i  indicates  the 
fig.  1482.  interior  filling. 

Examining  this  section  of  a  fabric  in  which  the  interior  structure  interlaces  on  plain  weaving, 
we  find  said  body  structure  thoroughly  covered  on  both  sides  by  the  floating  warp  and  floating 
filling  ;  on  those  places,  where  the  floating  warp  is  on  the  face  of  the  fabric  the  floating  filling 
covers  the  back,  and  vice  versa;  on  such  places  in  which  the  floating  warp  covers  the  back  of  the 
fabric  its  face  is  covered  by  the  floating  filling. 

It  must  be  once  more  indicated  to  the  student  to  use  only  tight  interlacing  weaves  for  the 
body  or  interior  structure,  and  floating  weaves  for  the  floating  or  exterior  warp  and  filling.  The 
weave  most  frequently  used  for  the  body  or  interior  structure  is  the  plain  weave — in  very  few 
instances  we  may  use  a  3  or  4-harness  weave ;  the  floating  or  exterior  system  of  threads  must 
interlace  with  long,  floating  twills,  basket,  or  diagonal  rib  weaves. 


□□□□BBBB 

□□□□SSSS 

rrr  i  nn 

III!  L 

BBBBDDDQ 

Fig.  1483. 


□□□□□□□□□□□□□□□□ 
□□□□□□□□□□□□□□□□ 
□□□□□□□□□□□□□□□□ 
□□□□□□□□□□□□□□□□ 
□□□□□□□  !  □□_!□□□□ 

□□□□□□□□□□□□□□CD 
B  .!□■□■□□□□□□□□□ 

□□□□□□□□□□□□□□□a 
■□■□■□■□□□□□□□□a 
□□□□□□□□□□□□□□□a 
■□■□■□■□□□□□□□□a 

Fig.  1484. 


□□□BaCLluSH^HSQDHffl 

cmnorM^^amaaamaa 


□□□□□□□CBBBEBHBQ 


□□□fflnDQfflHDHfflHDHffl 
□□□□□□□□BHBHBGMQ 


□□□□□□□□BEBEBBBE 

□□□sen  *b  ama  am 

□(  O  ;:  i!     i'  BBBEBBBQ 

lq  :    *    ::*e  amaa 

□□□□□□□□BEBEBBBB ' 

a  :>:•  .  c<-dc.b 

■QBHBHBBDnDCnDDQ 

BfflHDHfflHnDBannffloD 

■HBHBHBHDDSDDDDn 

EDBBE'-".  'HHaDDBDOGffl 
■BB3BHBHDDDanDDa 

HEEcafflHnnpnnDsna 

BBBEBBBEMDnnaDD 

Fig.  1485. 


□□□□BBBB 
□□□BBBBD 

□□■■■■□a 
□bbbbcdd 

BBBB  L'  '□ 
BBBUDDDB 

BBannaBB 
■  m 

Fig.  1486. 


□□□□□□BHBHBHBETLl 

j  •:<:  GfflH  :gbl:  j  as 

□□□□BHBHBEBHDnna 

►UH   EQH  ffl[  □ 

□nBHBHBHBHnnnnnn 

H  HBI  •-     :  a 

iHBHBHBEsnnnoGDnn 


■HiHiGnnnnGiTi:  ma 

a  awor.iz&c'  1  eshe  am 
bhbhd  :□□□□□!  maua 
am  Ea:  asaa 
Bannnni_ODCBEBQBH 

Fig.  1487. 


An  example  of  this  system  of  bracket  weaves  is  given  in  the  illustrations  Figs.  1 483-1 485. 

The  foundation  for  the  face  and  back  of  the  structure  is  given  in  Fig.  1483,  being  the  — ^  8- 
harness  basket.  In  Fig.  1484  the  plan  for  laying  out  the  bracket  weave  is  given,  closely  resem- 
bling the  planning  of  double  cloth.  If  we  would  follow  that  system  of  weaving  (double  cloth)  we 
would  be  compelled  to  lift  all  uneven-numbered  threads — the  face  warp — over  the  entire  back  and 
middle  picks  ;  whereas  in  the  present  case — bracket  weaves — we  arrange  the  floating  warp  over  as 
many  body  picks  as  there  are  face  picks  necessary  by  means  of  the  arrangement  of  1  @  1. 

On  all  the  other  places  the  floating  warp  is  arranged  to  weave  on  the  back,  as  clearly  seen  by 
means  of  weave  Fig.  1485. 


The  same  is  done  with  the  floating  filling.  When  the  latter  is  required  to  be  seen  on  the  face, 
the  same  is  arranged  to  float  over  both  systems  of  warp  threads  as  well  as  the  interior  pick.  On 
all  other  places  said  floating  pick  is  arranged  to  float  in  the  same  proportion  on  the  back. 

The  various  indications  of  different  type  in  weave  Fig.  1485  don't  represent  special  interlac- 
ings  ;  they  all  are  risers  and  have  been  used  to  more  clearly  show  the  construction  of  the  weave  to 
the  student.  The  interlacing  of  the  interior  structure  by  means  of  the  plain  weave  has  been  shown 
by  s  type. 

Further  examples  of  the  present  system  of  bracket  weaves  are  given  by  means  of  weaves  Figs. 
i486  to  1 49 1. 

Weave  Fig.  i486  indicates  the  common  -T  8-harness  twill  used  for  floating  (extra  warp)  in 
bracket  weave  Fig.  1487,  and  in  which  the  same  brackets  in  an  interior  structure  interlacing  with 
the  plain  weave. 


□□□□■■■■□□□□■■■a 
■■■■  ■  ■■■ 

□□■■■■□□■■□□□□■a 

gbbbbggobbbggggb 
■■■■□□□□■■■■□□□a 
■■■□□□□■□■■■■□□a 

Fig.  1488. 


*      be  ebb  eb    1  b      be  ebb  eb 

□nGUGGaCBEBBBEBHDaCDDDGL  BEBEBEBE 

GfflGQGBE   EBE    EB    i  EB!        B         BE,  EBE  , 
BEBEBEBE!  ^..BEGCGGQQGQBEBEBE 

i  j  be  ebb  eb  ,bb  eb  b  .  be  eb 
g  bebe  bebe 

1  E3H  ebb  eb  b  ebb  eb  *  be 
ggbebbbbbe  '  bbbbbe  be 

e  ebb  eb  b  be  ebe  hq  b  b 
bbbebbbbagggcgggbebebebb1  ii  ]i  ]□□□□□ 
ebb.  BsanDonnnffiE  be  bsbdbhddc  ana 
bbbbbe  >  be    bebebebb  ]□□□□□ 

e  eb  b  be  eb  be  ebe  eb  '  b 
■QBjQDDnnocnr  ■bbbddd  :  b e b e b e bbocdd 

EB  B  ■  BE  EBE  B  BE  EBE  EB  □ 
BBGDDGGaOCBEBEBBGGGaaCBEBEBEBBGG 

Fig. 1489. 


□□□□1 


Fig.  1490. 


B^CE~Er  EBEB 
L  L  :  BEBEBEBE 
f  !  .  .  ,  B  BE  B  EBE* 
I  '  l;  BEBEBEBE 

B   B  EBE  BE:  [•;.  ] 

[  !!  i  [  BEBEBEBE 

•:-  b  ..   ,l:ebebe:  e  i 

BEBEBEBE 

E  E  EBEBi  '  :  B '  B 
BEBEBEBE 

E    E    EBEB  B  B 

BEBEBEBE  I  C  □ 

EBEBE    E    1  ffll  BL  L  □□ 

bebebebe 

ebebe  e  b  b  (  id 
bbbbbbbbgdddgddd 

Fig.  1491. 


In  weave  Fig.  1488  we  show  the  common  ^¥  8-harness  broken  twill,  eight  warp  threads 
running  from  f  and  eight  warp  threads  from  \,  and  which  is  shown  arranged  for  a  bracket  weave 
in  Fig.  1489,  bracketing-in  a  body  structure  interlacing  with  the  plain  weave. 

Weave  Fig.  1490  shows  us  the  common  —4-  8-harness  basket,  and  which  we  arranged  for 
bracket  weaving  by  means  of  weave  Fig.  1491.  The  8-harness  basket  weave  is  the  same  as  shown 
by  means  of  Figs.  1 483-1 485,  the  only  difference  being  that  in  the  present  example  we  used  the 
common  — y  4-harness  basket  weave  for  interlacing  the  interior  structure,  whereas  in  the  previous 
examples,  dealing  with  the  same  weave,  we  used  the  plain  weave  for  interlacing  said  interior 
structure.  This  interlacing  with  the  4-harness  basket  weave  (the  interior  structure  of  the  bracket 
fabric)  will  be  clearly  visible  to  the  student  by  means  of  being  indicated  by  s  type. 

This  method  of  interlacing  the  interior  structure  with  the  4-harness  basket  weave  in  place  of 
the  plain  weave,  has  the  advantage  that  we  can  use  a  heavier  texture  for  warp  and  filling  since  the 
4-harness  basket  weave,  as  used  in  weave  Fig.  1491,  only  contains  one-half  the  number  of  inter- 
lacings  compared  to  the  plain  wreave  as  used  in  weave  Fig.  1485. 

B.  Arrangement  2  %  1. 
The  warp  and  filling  used  for  the  face  and  back  of  fabrics  constructed  by  this  arrangement  is 
always  of  a  finer  count  compared  to  the  threads  used  for  the  interior  structure,  since 
we  have  to  use  two  ends  for  face  and  back  (float)  to  every  one  end  of  interior,  and 
this  in  both  systems  of  threads.  The  designing  of  these  weaves  will  make  no  diffi- 
culties to  the  student,  consequently  only  one  example,  Fig.  1492,  is  quoted,  and  which 
will  readily  explain  itself  to  the  student  by  means  of  the  different  crochet  type  used 
(for  indicating  the  various  stages  of  constructing  this  weave  as  well  as  the  various 
systems  of  threads),  corresponding  in  their  expression  to  those  used  in  the  former  examples. 

Figuring  by  Means  of  Bracket  Weaves. 

A.  Arrangement  1  %  1. 
Figured  effects  can  be  produced  by  means  of  arranging  the  warp  and  filling  of  the  interior 
structure  to  change  position  with  the  warp  and  filling  of  the  floating  system  at  any  place  required 
by  the  design  (motive).  An  example  of  the  subject  is  given  in  the  accompanying  illustrations, 
Figs.  1493  to  1496.  For  motive  we  used  Fig.  1493.  Figs.  1494  and  1495  are  selected  for  the  two 
positions  of  the  bracket  weave  so  as  to  procure  the  required  exchange  from  the  floating  to  the 


□□□□□□BBBBEB 

□'  it  r..EHBB...BBE>-  J 
□□□□□BBBBBBD 
□□□BBBBBBlED 
nBEEClEEBl  j'U  i[  I 
□L BBBBBBDDDD 
BBBBBBlOCCDD 
E  'EE53H  r,  "  EE 
BBBBBDDGGGGB 
BEB  n  BEB 
EB  7  BEE  B 

BBQQQQL  BBEB 

Fig.  1492. 


322 


interior  system,  and  vice  versa.  (They  will  explain  themselves  at  once  to  the  student  by  means  of 
referring  to  the  construction  of  weave  Fig.  1485.)  In  weave  Fig.  1494  all  the  warp  threads  and 
picks  of  an  uneven  number  (1-3-5-7-9-11-13  and  15)  refer  to  the  floating  system,  and  all  the 
warp  threads  and  picks  of  an  even  number  (2-4-6-8-10-12-14  and  16)  refer  to  the  interior 
system.  In  weave  Fig.  1495,  just  the  reverse  is  the  case,  all  the  warp  threads  and  picks  of  an 
uneven  number  refer  to  the  interior  or  structure,  whereas  those  warp  and  filling  ends  of  an  even 


■bb  v-  r mm-  nn 

M   ■  :   ■  .       ■•  '■ 
IHB  J  BBBB 

~  "1 
1 

UB  :■■  ! 

■H  m;  II  M  ! 
H  H 

BBBB  3 
B        B        ■        ■  1 

BB  i  H  :!  iBB,  ! 

Fig.  1493. 


am 

r  BB 

1  !G  i  - 

■  1    !;  1 

1  1  B 
IBBB 

B 

BBB 

I  II 

□□□□□□□□■■■■■■■a 
b      b    bbb  bbb.  ) 
ggodggggbbbbbbbb 
9  b     ii  bbb,  bb 

gbgggbggbbbgbbbg 
□□□    .  bbbbbbbb 

■  □BBB.  BB  ...  B  B 

■■■BBBBBGQOQOGGQ 

■bb.  .bbb.  :  .a..:. :  ■□□ 

,  BBBBBBBBGGGGGOOG 
lBLBBBGBBGGCBGaaB 
■BBBBBBB  1GGGGGGG 

■■■□■■■^□■□□□■i  .;□ 

Fig.  1494. 


i  n 

□□□□□□□□ebeebbee 

GGB  I  EEE 

BBBDB 

GGEOOOBGLBEBLEEB 
□□□□□□□□EEBBBEBB 

□□ncB  ](    be  ebb  b 

BBBB  GGi  j 

,  BE    E  EG  !U 

bbebbbbb;  ] 

EBaaBEnBEnDDEDDD 

Fig.  1495. 


II 


□■■■-  bbb:  gbgll  bllbbbl  bbbg 
□•■■•bbbbc  l gggco 


number  in  this  case  belong  to  the  floating  system. 
If  we  now  arrange  warp  and  filling  one  end 
dark  to  alternate  constantly  with  one  end  light, 
the  squares,  as  indicated  in  our  effect  (Fig.  1493) 
by  ■  type,  will  show  on  the  face  of  the  fabric 
dark,  all  the  others  light.  Out  of  these  two  foun- 
dations— weaves  Figs.  1494  and  1495 — the  com- 
plete weave  Fig.  1496  has  been  constructed. 
Before  the  designer  begins  at  the  construction  of 
these  bracket  weaves  he  lays  out  the  plan  for  the 
new  weave  from  the  foundation  selected.  In  our 
example  we  used  the  8 -harness  basket  for  foun- 
dation, hence  8  threads  to  one  square  of  the  motive  is  the  smallest  enlargement  possible  (although 
any  greater  enlargement  may  be  used).  Using  their  enlargement  of  8  and  multiplying  it  with  6, 
the  repeat  of  the  motive,  we  get  the  (8x6=)  48  warp  threads  and  48  picks  repeat  for  the  new 


1  11  1  11 

□□□□□□□□■□■■■□■■□□□■□□□■□□□□□□□□□□□□□□□□□EEEEEEE 
□□BUGUB-MBMBBMgGGGGGGGIjBBBlBBEGLEL.GGEGLEEBgEBB 
-OOGOOOOGBBBLjBBBGQBGOGBljuEEBBBEBBGLiGGGGGC  eeeeeeee 
2BaaaEGaaBBBBBBBBaGDGGGGGEBGBEEGEBGGGEG^aEEGEEELE 
□GODGGGGBGBBBgBBGGGBi_jljGBBEEEBEBBGGGGGOOGEEEEEEEB 
□GEOnGEGBBBBBBBBGGDGGGGGGBBBOBEEGGEGGC  EGGEEEGEEB 
GOuGGOUlBBB.jBBBljGBGOGBGGEEEBEEEEGLGGLGLLEEEEEEEE 
EGGGBGGGBBBBBBBBGGGGGGGGBBl.EEBuEEGL  GBGGGEBGEBBGB 
EEBEEBBB JUGGuLGLBGBBBGBBGGGuGGGGBEEEEEEEGGGBGGGB 
OBBBGEEBGGEGGGELBBBBBBBBGl.  ELGGEL  gEBE_  EBB.  L  L Gl  L  G 
lEEBBEEBEGGGGOGGLBBBGBBBGGGLGGGGL.EEEEEEBEGBGGLBGO 
EB._.EBEGBBuGGBQGGBBBBBBBBEQGGEGGGBEGEBEGEGQGQQGGQ 
EEBEBBEBGGGGQGGl  jBGBBBQBBQGGGGGGGEBEEEBEBGGGBGGGB 
QEEEGBBBGGBGGGEGBBBBBBBBGGEGQGEGQEEBGBEBGGGGCOGG 
EBBBBBBB^GGuGGGUBBBljBBBGGGGGQGGGEEEEEEEBGBGGGBGG 
EBGBEBGBBGGGEGGGBBBBBBBBEGOOEGGLEELEEEL  bgggggggg 
□□□OGLLLEEEEEBBBuGGBLjGGBBQBBBGBBGLLBLOGBBGBBBDBB 
QQEGQGBGGBBEGEBEGljUGGGGGBBBBBBBBGL.GLjCGQGBBBBBBBB 
oGlj  jQGGGGBBEEBBEBLjBGGGBQQBBBQBBBGGBGGGBGQBBBQBBBQ 
^EaQGEQGGEEaEEBUEGGQQQQQQBBBBBBBBLjGQGGGGr.BBBBBBBB 
□.  IG  !GljCGBEBBEEBEGGGBGljGBBGBBBGBBGGGBGC[  bbgbbbgbb 
G  E  B  BBB.. BBB  !..JGGGGaG«BBB»BBBGGGGCGGGBBBBBBBB 
QQGQQGGGBBEBBBEEGBGGQBGn 
EQQQE.  L  .  BB^BBBGBGGaaGGGL_ 

■□■■■□■■□□□■□□□■■□■^□■■□□□■□□□■BEBBBBEHC .□□□□□□□ 
■■BBBBBBGGGGGGGGBBBBBMBGGLGCC  LLGBEEC  EEELLELCGEG 
■BBGBBBGGBQQQBQGBBBQBBBOGBl  [  '.!  K  EBEBBEEEGGGQGQQQ 
lBBBBBBBBGGGQGDGGBBBBBBBBQQLr!GLG[  BB  BEE  EECGGEGGG 
■QIIIGIIGOGBOGGBBGBBBGBBGDOBCCL  BEEEEEEBEGGOOOGCn 
BBBBBBBBGGGGGGOGBBBBBBBBGOGOGOOLGEEEGEEEGCECGLEG 
■BBGBBBGGBGGGBGGBBBGBBBGGBiiGiGBl  ,[  BBBBBBEEGGGQGQGQ 
BHBBBBBH  .      ;  IIIIIIBI   :  r.[  L  L  '  I  BBGEEEGBEGGGEGCG 

GG  B  ..  .BEBEEBBEEl  >.  .  GGL  L  B.  BBB:  BBL.L  L  t  LI 
QGGQGG.  I  •  BBB  BBB:  BGGGEGBBBBBBBBGGEL  LLELH  EBEGEEB 
Q B □  Q G B G Q B E B B B B B B  GGGOnnOBBBGBBBGOGGLCLGDEEEEEEEG 
nGGOOQGGQEEGEEEGEEGGGEGGOBBBBBBBBECLLELCLEELEEEOB 
•^GGGBGGCBBEHGBBHHnQGGGQGGBt  iBBBGBBQGQGGGQQEBEEEBEB 
GQQGQLlGL]rJ]BBEQEBEGQBOGQEGBBBBBBBBQQEGGGBCGEEE"  BEE 
GBGGQBGGBEHHQHHHnQGGQOGGBBBGBBBGGGGQQGGOEBEBEEEB 

aaaaaaaL  belEbbl..ebqggbqqqbbbbbbbbeggoeqgceegeeece 

BBBBEBEBGQGQQQGQBBEBEBEBi  Lil  B  GDBBOBBBGBBOGGGGGGQ 
GBBEGBEBQQEGGGBQGEBEGBBEGGGGGQCQBBBBBBBBGGECCGEG 
EBEBEBBBGGaaaQaGEEEHHHBHDBjOODBDQBBBGBBBGGQQQQQQQ 


EEGEEBQEEGGGEGQGBB  .BBB   B  ...  GJCCaQQI 


EGQCEQGG 


lBBBBEEBEGQGGGGGQBEBEBEEEGGGBGGQBBGBBBGBBQQQGGQGQ 


f  'BBB  BEE  GDGDI 

E  E  B  E  E  BE  EG  GGG  G  Q  Q  G  B  B  B  B  B  B  EE   B.  G:  BGGBBBl  I 

ebgegegeagggegageegeebgeggggggggbbbbi 

Fig.  1496. 


QOEQGCEG 

caaaaaaaa 

BEGQGEGQG 


'■■FIB:  !i  'BB  \mM\  ! 
S      BB  a 

'  BBB  >i  r  illl 
III     ■■  HI 


I  II  -  B  BB  It  II 
i     I  'BBG^BBBB 

Fig.  1497. 


I  II 

QGOBQGGBBDBBBGBB 
□QQGGGGGBBBBBBBB 
QBGGGBBGBBBQBBQG 
□GQQGGBBBBBBBBQQ 

oGQQBBGBBBGBBGQQB 
GGGGBBBBBBBBGQGG 
GBBnBBBC BBGGGBGa 
GGBBBBBBBBGGGGGG 
■GBBBGBBGGGBGGCB 

BBBBBBBB  :  .   '.  i  . 

■BBLBBGOGBGGOBBG 
BBBBBBGGGGGGGGBB 

1 BGBBQQGBGGQBBQBB 
BBBBGGQGQGGGBBBB 
BB    -   B  i.     11  HI 
■BGQQGQGGGBBBBBB 

Fig.  1498. 


I  II 

□QQaGGGGEEEEEEEE 
QQBl.  h  -bee 

aaauaOBEBBBEBB:JG 
EGGGEGOEBBGEEEGn 

BGGGG 

GGEr  :  .   B  1 

□gee:  gggg 
e  j.  bbb  bbb    b  > 

BBBBBBBB     1G  I  \  i:  IG 

ebbeeb!  ,  a  :f .:  :  [  be 

,  BEG  EBB      B         B  .E 

Iebbb  J 

: 

□eggegggeggeeege 
Fig. 1499. 


weave ,  Fig.  1 496 .  This  smallest  possible  enlarge- 
ment has  been  selected  since  it  better  explains 
the  subject,  although  larger  designs  of  from  200 
to  400  ends  repeat  are  frequently  met  with  in 
practical  work.  However,  their  construction  is 
extremely  simple,  since  all  we  have  to  do  consists 
in  arranging  the  two  foundations  (1494  and  H95)  > 
according  to  the  plan  of  the  enlargement,  to 
exchange  position  wherever  required.  In  order 
to  make  matters  yet  plainer  to  the  student  we  in- 
dicated the  squares  in  our  foundations,  Figs.  1494 
and  1495,  by  means  of  numerals  of  references 
1,  2,  respectively  1,  11,  and  added  said  numerals  of  references  also  to  the  complete  design,  Fig. 
1496.    Next  consider  motive  1493  and  take  for  the  uneven  number  of  rows  in  the  direction  of  the 


1  11  1  11  1  11 

□□□■□□□■■□■■■□■■□□□□□□□□■□■■■□■■□□□□□□□□BBBBBBBB 
GGGGGGGGBBBBBBBBGGBGGGEGBBBBBBBBGGBGL  iGBGGBEBGEBB 
GBGGGEBGBBBOBBGGGGGGGGEBBBBDBBGLGL  L  7  GC  BBBBBBBB  .  G 
2QuQQQQBBBBBBBBGGBGIjGBGQEBBBBBBGGBGGGBljGEBEGEEBOO 
GOOBBGBBBGBBGGl  jBGGGGBEBEBGBBOGGB..  g  LEEEBEEEEGOGG 
BBBBBBBB  L.GDEGGEBEBBBBGGGGGGBI  BBB  BBEGGEG 
GBBGBBBGBB1.  .  GB      .     BBBBBBBB        I    .  :  GQGCG 

□□■■■■■■■■GGL,  il  EL  :  iEBEi  jEBBQLiI  GJ.  .1  ELL  EEBGEBBGGECQQ 
BGBBBGBBGl  1.:  j!  GJGGBBEEBEBEGQGBGGQBBGBBBGBBGGGGGGOG 
BBBBBBBBL;  iBULJ.  BGi  BEE   BBB  )Gi  IGjl  GiGQBBBBBBBBGGEGGGEG 

lbbbgbbgggggggdbebebeebg.  l  ;bggl  bbgbbbgbbggggggggee 
bbbbbbggbgqgbqgeebi  bee  igggogbbbbbbbbogeggcggoe 
bgbbgggblgg:  bbbeebebggoqqqgbbgbbbgbbgggbl clgeeeb 

■■■■QGLiGlL'iBI  it  BEE  EBB  ..  B.  ..  .!  !.  :  .BBBBBBBB.  LLLLELLBBE 
■■□□GBGGGGBBEBEBEBGGLGGGGBBQBBBGBBQGGBLL  BBB BBB 
■  BGGGG.  j  B  h  EBBuEEEGGEOOOOGBBBBBBBBGGC  Gl  .L  ELL  BEBGB 
□□□□□□□□EE.  !□□□□□□□■□■■■□■■□□□■□□□■■□■■■□■■ 
GGBQQGEGGEBBi  BBB  .  E.  .:  :  B.  BBBBBBBB  C  GGGlI  GGBBBBBBBB 
oQGLIQGGEBEBBEBEGGl  iGGgGGEEBBBGBBLLGBL.CGBBIT  bbbgbbgq 
.:  ..  .:  B.  ..  BBBBBBB   G  ■  .  BBBBBBBBGil 

□□□□BB.  .    .  JGGGBEBEBQBBGGGBQLGBBGBBBGBBGGGB 

l-JBB   .  IBCGGEQGBBBBBBBGLiGLjLGGGBBBBBBBBGDCQ 
JGQDDEEBEEBBBLLL  B   L l  ■■□■■■□■■□□HILT □ 
BGGBBB.LBEBGGBGGQGQDEBBGEHBQQDLG'^L  .LBBBBBBBBQODDDn 
■□■■■□■■□□□■□□□■■□■■■□■■□□CL.GCGCEEEEBEEELGGQjCOa 
BBBBBBBBGL  iGi  IG  if  jBBBBBbBBGDEDGGEGGEEEGBBEGQBGGGBD 
,BBBaBBaaQBnaGBBaBMaBBaDnnnnDGEBEEEBESLCCLOGGGEB 
lBBBBBBGGGGGGGGBBBBBBBBGnBGGGBGGEEEGEEBGGEGGCEGGE 
BQBHGG'.  B  "L'GBBIJBBBGBBnDGBGGGGBEEEBEEELGLLLLGGEEEB 
BBBB  :•  ,□    i  i      '  BBBBBBBB'     Gl  =  GB!  '  EBB'  BEBGL  EG    ■  BGGEEE 
BBGGGBGr □■■□■■■□■■□□□■□□□GBEEEEEEEr GL GGGCGEEEBEB 
■BGGQQGGGGBBBBBBBBGnODGGEQGEBEr BEBGGECQGBGGBEEGE 
B    BBB    BB    '    'BG      BBBBBEBEEGnGG . □□□■□■■■£■■ 

□qeggqbgbbbbbbbbqgqqqdgggbebcebelgbgr.  gbobbbbbbbb 
]       bbbbb  bb     b     bb  bebbbb  lr  1  :  [   (  bbbbbl bbgg 

<>b  '  •  :b:  :  'bbbbbbb'  >■  'Ggbbbbgebeqqbgqgeqqebbbbbbdd 
^aaddbbbbbcbbdggblnrbbgbbeebe!   [  g'  gggbeeeblbbqgdb 

GGEGGEBEBBBBaGGGriGnaBBBBGEEBt.  GB!  r  GBGGEBBBBBBDanLl 
GGEBBBBBBBGG:  B  G!  ^BBt^BBBnEEnonDnnDnEEEEBEBBGQGBCn 
BGGEBEGBBBGGGGGDGGBBBBBBBEQQEGGQEDGBEByBBBQGQDOn 

EBEEEBEE  )innn      b  bbb:  'bbg:  :       ■  t  b  .bbbc  bbgogbqogb 

□EBEQBEEDGBDnOBDBBBBBBBBnQBGGGBGBBBBBBBBGGCGOGOD 
EBEBBBGOGGGGGGBEBBBBBBGQnGGGQCBEBBBQBBGOGBGGGBBG 
BBnEBBG^BG!  I.^BGnEBBBBBBGGEOGGBQQBBBBBBBGnGnpyyGJ J 
1BBBB  ,;  ]  ' .  ^□□□BBBEBnBBGQGBGGnGEEEEBDBBGQOBQGGBBGBB 
GBBBOGEGOOE!  IGEEBBBBBGGGGGGBQGEEEBBBBnQDGQDnGBBBB 
EBGGGGaGGQBBEBEEBBQnDBDnnOBEEEBEBBGpDBpDDBByBBBy 
BBaDBannBDDBBBnBBBaDGCnDBDnBBBQBBBCDGDCnDDSBBMl 

Fig.  1500. 


323 


en  n:  n  ■  •  ■  i 
h  ■  oh  :a 

H  !  ■ 
■  BM 

H  ;:y    a::au  a 

1     nn,  .9  m  MM 

'  a  a 

a  .bbhb  .  hg 

B  :  ■ 

i  a  !'  ■ 

■  h 

■■■■■HDnrjDra 
Fig.  1501. 


rr:n~  h 

[  K  , 

n  kc 

[    h  i'  .h 

i  i 

h  • 

[  a::  bh 
a  bb  a 

;;a 

a::  a:: 


a:: 


warp  the  squares  indicated  by  uneven  numbers  in  foundation  1494,  wherever  the  motive  shows  ■ 
type,  and  a  square  out  of  foundation  1495  wherever  the  motive  shows  m  type.  For  the  even  rows 
of  squares  in  the  motive  take  in  the  same  manner  those  squares  of  the  foundations  1494  and  1495, 
as  indicated  by  even  numerals  of  reference.  In  the  same  manner  we  could  select  our  foundations 
from  the  motive  in  the  direction  of  the  filling. 

A  further  example  of  this  means  of  figuring  by  bracket  weaves  is  given  in  Figs.  1497  to  1500. 
Fig.  1497  illustrates  the  motive,  Figs.  1498  and  1499  the  two  foundations  required,  and  of  which 
Fig.  1498  shall  be  used  for  the  effect  and  Fig.  1499  for  the  ground.  In  Fig.  1498  all  the  warp 
threads  and  picks  of  an  uneven  number  belong  to  the  floating  system  and  all  ends  of  an  even 
number  to  the  interior  system.  In  the  companion  foundation  weave,  Fig.  1499,  the  arrangement 
is  reversed,  those  ends  of  an  even  number  producing  the  effect  and  those  of  an  uneven  number 
producing  the  ground.  The  complete  design  is  given  in  weave  Fig.  1500.  We  only  must  remark 
again  that  a  difference  in  material  or  color  for  yarn  employed  must  be  used. 

B.  Arrangement  2  @  1. 
This  arrangement  of  preparing  bracket  weaves  for  figuring  is  shown  in  examples  Figs.  1501 
and  1502.  For  the  effects  we  selected  again  a  basket  weave.  The  threads  of  a  heavier  count 
reflect  only  for  one-third  of  each  system  of  threads,  and  which  for  this  reason  cannot  be  used  to 
interlace  with  the  same  size  of  a  basket  weave  as  the  other  system 
of  threads  which  reflect  upon  two-thirds  of  the  amount,  i.  e.,  twice 
as  many  ends  in  warp  and  filling.  For  this  reason  we  arranged  the 
heavy  ends  to  weave  4-harness  basket  on  the  outside,  whereas  the 
fine  counts  of  yarn,  interlacing  in  plain.  In  foundation  Fig.  1501, 
which  can  be  used  for  either  effect  or  ground  as  required — the  fine 
counts  of  yarn  weave  8 -harness  basket  and  the  heavy  counts  of  yarn  plain  weave. 
Fig.  1502  the  threads  of  a  heavy  count  interlace  in  4-harness  basket  and  the  threads  of  a  fine 
count  in  plain  weave.  To  arrange  these  two  foundations  for  a  design  will  make  no  difficulty  to 
the  designer  if  he  proceeds  according  to  rules  laid  down  and  explained  in  examples  given  in  the 
previous  chapter. 

FRINGES  AND  PEARL  EDGES. 
Fringes. 

Shawls,  Curtains,  Tablecovers  and  similar  textile 
fabrics  are  frequently  produced  with  fringes.  For  this 
purpose  there  are  placed  on  each  side  of  the  loom  at  a  ^ 
distance  of  from  2  to  6  inches  (more  or  less  according  to 
length  of  fringe  wanted)  from  the  main  fabric  heavy 
threads  of  yarn  or  a  wire,  and  (thread  or  wire)  are  made 

2  cc  A 


::a  I 

hi  a 

H 

H   !  H 

a 
hi 

Fig.  1502. 


In  foundation 


Fig.  1503. 

to  work  one  up  and  one  down  so  that  the  filling  as  pass- 
ing first  over  said  thread  or  wire  is  caught  on  its  back 
journey  into  the  main  fabric  producing  in  turn  a  protrud- 
ing end  or  a  fringe  as  clearly  shown  in  our  accompanying 
illustration,  Fig.  1503,  of  which  A  represents  the  main 
fabric,  B  the  fringe  itself,  and  C  the  wire  or  thread  placed 


Fig.  1504. 


324 


Fig.  1505. 


I504 


in  a  distance  from  thread  a,  of  the  main  fabric,  as  required  by  the  length 
of  the  fringe  B,  wanted.    If  required  to  produce  a 

Fringe  of  a  Different  Color 
then  the  main  structure,  take  for  producing  the  same  a  special  warp- thread 
placed  on  a  small  bobbin  and  allow  it  to  work  with  very  little  friction  near 
the  edge  of  the  fabric.  Have  this  special  warp-thread  work  one  up  and 
one  down,  so  that  the  filling  goes  alternately  above  and  below.  The  tension 
for  the  filling  must  be  more  than  the  one  for  the  warp-thread,  thus  the 
filling,  when  returning  into  the  main  structure,  will  pull  the  special  warp- 
thread  closely  up  to  the  fabric  ;  producing  in  this  manner  the  required 
effect,  i.  e.,  a  different  colored  fringe  compared  to  color  of  the  fabric. 

If  operating  the  edge  of  the  fabric  on  the  common  rib  weave  i.  e. , 
2  picks  in  a  shed,  the  special  warp-thread  will  get  drawn  in  through  the 
edge  of  the  cloth  on  to  the  main  fabric  as  clearly  shown  in  the  accompanying  illustration,  Fig. 

of  which  letter  of  re- 
ferenced indicates  the 
warp  of  the  main  fab- 
ric; B,  the  special  warp 
for  forming  the  dif- 
ferent colored  edge ;  C 
the  warp-threads  of  the 
edge  of  the  cloth  cor- 
responding in  color  to 
the  special  warp  B  ; 
D,  E,  and  F,  three 
wires,  horsehairs  or 
threads  of  yarns  for 
forming  different- 
sized  loops  (z.  e. ,  pearl 
edges  in  this  instance) ; 
G,  the  filling  for  the 
regular  fabric. 

Pearl  Edges  or  Selvages  for  Ribbons. 
FlG  1506  The  selvages  of  ribbons  are  sometimes  formed  with  loops  either 

in  a  straight  line  or  varie- 
gated. They  are  called  "pearl 
edges,"  and  are  produced 
by  means  of  temporary  warp- 
threads  of  horsehair  or  of 
wire.  To  clearly  illustrate 
the  subject  the  accompanying^ 
four  illustrations  of  such  fab- 
rics, Figs.  1505,  1506,  1507 
and  1508,  are  given.  In  the 
same  letter  of  reference  A  in- 
dicates the  warp  of  the  main 
fabric  ;  £,  the  filling ;  C,  D, 
E,  i^and  G,  the  wires,  horse- 
hair or  threads  as  necessary*? 
for  forming  the  pearl  edges. 


I 

N 

1 

H 

H 

0 

1 

a 

hj 

t 

i 

■  J  a 

El 

J 

f=j 

Jl 

\\ 

s 

\\ 

  N 

\\ 

H 

> 

1 

3 

H  fl 

H 

■I 

H 

<S=: 

r— fl — p 

H 

r— 1 L 

Fig.  1507. 


ADVERTISEMENT. 


AMERICAN  SUPPLY  CO., 

Mill  Furnishers, 

II  AND  13  EDDY  STREET,  PROVIDENCE,  R.  I. 


Manufacturers  of 


LOOM  HARNESS  AND  REEDS. 

Mail  Harness  for  Worsted  and  Woolen  Goods. 

OAK  TANNED  LEATHER  BELTING. 

Loom  Pickers  and  Strapping  of  all  kinds. 


Sole  Owners  and  Manufacturers  of 


PATENT  JACQUARD  HEDDLES. 


Dealers  in 


Calf,  Sheep  and  Lamb  Roller  Skins, 

Roller  and  Slasher  Cloth  and  Roll  Coverers'  Tools. 

SOLE  AGENTS  IN  THE  II.  S.  A.  FOR  J.  0.  &  S.  ROLLER  SKINS. 

We  have  unequalled  facilities  for  furnishing  Shuttles,  Spools  and  Bobbins,  Wire  Meddles  and  Heddle  Frames,  Spinning  Rings  and 

Ring  Travellers,  Belt  Hooks,  and  Wire  Goods  of  every  description. 


Our  Oval  Dent  Reeds  are  especially  adapted 
for  weaving  Coarse  and  Fancy  Cotton, 
Fine  Worsted  and  Woolen  Goods. 
Price  same  as  common  JReeds. 


This  Cut  Represents  our  Scotch  Tape  Leice  Reed. 


We  mcke  a  specialty  of 

SOLDERED  REEDS  FOR  BEAMING  AND  WEAVING, 

Also 

SCOTCH   TAPE   LEICE  REEDS, 
THREAD   LEICE   REEDS  AND 

BLOCK   LEICE  REEDS. 


P.  W.  LIPPITT,  President.  JOHN  A.  CARTER,  Secretary. 

JOHN  E.  KENDRICK,  Vice-President. 


MYRON  FISH,  Treasurer. 
JOSEPH  H.  KENDRICK,  Agent. 


ADVERTISEMENT. 


U5C  "Halton"  Jacquard, 


Single  Lift, 
Double  Lift, 
Rise  and  Fall, 
Cross  Border, 
Cumber=boards, 
Lingoes, 
Harness  Twines, 
Mails,  etc. 


IT  IS  THE  BEST. 


"  600  Rise  and  Fall,  with  Deep  Knives  and 
INDEPENDENT  Spindle  Cylinder  Motion. 


THE 
ORIGINAL 

"FINE 
INDEX" 
MACHINE. 


THOMAS    H  ALTON, 

2627=29 


MUTTER 

-^STREET, 


Below 
Lehigh  Avenue, 


Philadelphia,  Pa 


FOR  TEXTILE  WORKERS. 

 ^  

The 


•A 


cme 
No.  4 


with  1  Ocular,  1  in.  and  1=5  in. 
Objectives  in  Case.  Net, 


Send  for 
Catalogue  B. 


QUEEN  &  CO.,  me. 

Makers  of  the  Acme  Microscope, 
•  1010  Chestnut  St.,  Phila. 


HENRY  TROEMNER, 
710 


Maker  of  Fine 


Market  Street, 
Philadelphia,  Pa. 


and 


SCALES 
WEIGHTS 

For  Accurate  "Weighing. 

Special  Scales  and  Weights  Made  to  Order. 

PRICE  LIST  ON  APPLICATION. 


TELEPHONE. 
 \  ^ 


FREDERIC  HAND  &  CO., 

Jacquard  Designers, 


 FOR  ALL  

EXTILE  FABRICS 


205  Market  Street, 

paterson,  ]*. 


xi 


ADVERTISEMENT. 


M.  A.  FURBUSH  &  SON  MACHINE  00. 

PHILADELPHIA 

MAKERS  OF 

WOOLEN 

CARDING,    SPINNING    AND  WEAVING 

MACHINERY 

ALSO 

WORSTED  CARDING  MACHINES, 

THE  MDRKLAND  INGRAIN  CARPET  LOOM. 


ILLUSTRATED  CATALOGUE  WITH    FULL   PARTICULARS  ON  APPLICATION. 


xii 


ADVERTISEMENT,, 


George  R.  K.  Smith.  Franklin  S.  Smith.  Stanton  M.  Smith. 

THE  H0LBR00K  M'F'G  CO., 

466,  468,  470  Washington  Street, 

ISIEW  YORK. 

MILL  SOAPS. 


/"■^■HIS  entire  building  is  used  solely  in  the  manufacture  of  our 
1      Soaps ;  we  have  the  largest  and  best  facilities  in  the  United 
States  for  this  line  of  trade.   Also  the  best  location  for  quick 
shipments,  all  freight  lines  being  within  easy  trucking  distance. 


EDWARD  CLEAVER. 


WILLIAM  A.  LEATHER. 


CLEAVER  &  LEATHER, 

Jacquard  Harness  Builders, 

For  Ribbons,  Broad  Silks,  Tapestries,  etc. 

— 


Weavers'  Harness,  Lingoes  and  Supplies, 

Full  Line  of  Jacquard  Threads, 

Mail  Harness  a  Specialty 
—  Correspondence 


0 


159  MADISON  STREET, 
PATERSON    N.  J., 

Telephone  405  B. 


K^aOSHfJ -i860. 


TELEPHONE  133* 


LOUIS   F.  LIOTARD, 

uocessor   to    A.  LIOTARD, 

All  Hinds  of  Heeds  and  Harness, 

ii 

Paterson,  N.  J. 


MANUFACTURER  AND  IMPORTER  OF 

SOLE  AGENT  FOR  CHAIZE  FRERES'  PATENT  BRAIDED  HEDDLES 


Nos.  50  and  52  Essex  Street, 

Telephone  No.  387. 


XIII 


ADVERTISEMENT. 


PATENTS. 

HOWSON  AND  HOWSON, 

Counsellors  at  Law.    Solicitors  of  Patents. 


PHILADELPHIA,  Forrest  Building,  119  South  Fourth  Street. 
NEW  YORK,  Pottsr  Building,  38  Park  Row. 
WASHINGTON,  National  Union  Building,  918  F  Street. 


E  A.  SMITH,  President.  J.  P.  WILSON,  Sect,  and  Treas. 

THE  CHARLOTTE  SUPPLY  CO, 

General  Mill  Furnishers 

AND 

Manufacturers  of  Leather  Belting. 

CHARLOTTE,  N.  C. 


MANUFACTURERS  OF  POWER  LOOMS  FOR  TAPES  BINDINGS, 
GIMPS,  ETC. 

JACQUARD  MACHINES  OF  EVERY  DESCRIPTION,  PIANO  CARD 
STAMPING  MACHINES,  ETC. 


FINE  INDEX  JACQUARDS. 

Henry    Riehl   &  Son, 

MACHINISTS, 

1130=1132  Charlotte  Street, 

PHILADELPHIA,  PA. 
Special  Machinery  Built  to  Order.   Jobbing,  etc. 


PAUL  BEER,  » 

i     t  Coppersmith 

...AND  MANUFACTURER  OF... 

i     i     Copper  Kettles 

(PLAIN  AND  JACKETS.) 


COPPER  STEAM  PIPES, 
COILS,  DIPPERS, 

STEAM  BOARDS  AND 
HEAVY-TINNED 

STEAM  CYLINDERS. 


831  North  Fourth  St., 

Repairing   PHILADELPHIA. 

Neatly  Done. 

WIDMER  BROS., 

Textile  Machinists. 

Manufacturers  of 

ALL  KINDS  OF  BATTONS, 

circular  and  one  bank  up  to  six  bank  Battons, 
including  our  own 

HIGHLY  IMPROVED  BATTON  (Patented). 
5ILK  RIBBON 

and 

VELVET  RIBBON  LOOMS. 

JACQUARDS. 

REPAIRING  PROMPTLY  ATTENDED  TO. 

108  and  no  N.  Seventh  St., 

Long  Distance  Telephone  426.  PATERSON,  N.  J. 


xiv 


ADVERTISEMENT. 


JAMES  BARKER,  cotton  and  woolen  machinery 

S.  E.  Cor.  2d  and  Somerset  Sts.,  Philadelphia,  Pa. 

Double  Apron  Condenser 

1.  Increases  production  10-40%. 

2.  Improves  quality. 

3.  Adaptable  to  fine  or  coarse  numbeis 
of  yarn. 

4.  Equipped  with  perfect  aprons,  plain 
or  u pocket." 

5.  Now  working  on  every  grade  of 
stock  carded. 

6.  Necessary  to  profitable  yarn  making. 


Fast  Running  Non-Oil- 
Leaking  Doffing  Comb 


1. 


and 


For  cotton,  woolen 
worsted  cards. 

2.  Can  be  run  at  highest  speed 

3.  Working  parts  always  in  oil 

4.  Adjusted  by  single  screw. 

5.  Durable  and  cheap. 


New  Automatic  Spur-Gear  Cutter 


1.  Compact  and  sturdy  construction. 

2.  Driven  by  one  belt. 

3.  Speed  limited  only  by  strength  of  cutter. 

4.  Minimum  amount  of  over-run. 

5.  Cutter  table  returns  at  rate  of  90  inches  a  minute. 

6.  Perfect  spacer,  steady  cutter. 

7.  Entirely  automatic. 


Moulders'  Improved  Flask 

1.  Prevents  shifted  or  shotover  castings. 

2.  Saves  time  and  labor. 

3.  Increases  production. 

4.  Perfect  lift,  less  patching. 

5.  All  parts  renewable. 

6.  More  work  done  by  hinge  lift. 

7.  Positive  pin  guide. 

8.  No  fins — less  work  in  cleaning  shed. 


xv 


ADVERTISEMENTS. 


Qeorge  L.  Schofield, 

DEALER  IN  NEW  AND  SECOND-HAND 


Agent   for  the 


Weston  Hydro  Extractor. 


No.  123   NORTH    FRONT  ST., 

PHILADELPHIA. 


CEDAR  TANKS,  VATS,  DYE  TUBS,  ETC. 


GEORGE  WOOLFORD, 

2238-50  NORTH  NINTH  STREET, 

PHILADELPHIA. 


QEO.  J.  BURKHARDT'5  SONS, 


Cedar  Vats  and  Tanks, 

Nos.  2831  to  2839  North  Broad  Street, 

PHILADELPHIA. 


I  T«f»  HflHlfV  Cn  '«  C0TT0N  YARN  for 

use  naaiey  co.  s     WARp  M  FILL1NQ 

Largest  Production  at  Least  Cost  for  Labor, 
AND  SECURE  {  Smoothest  Surface  and  Host  Regular  Patterns, 

YOUR  COLORS  RICH,  LUSTROUS,  and  FULL  OF  LIFE. 

RESULT — HIGHEST  Market  PRICE  for  YOUR  GOODS. 

MING  &  CHAPIN,  Agents, 

215  CHURCH  STREET,  PHILADELPHIA. 


Tapes  and  Braids. 

The  most  complete  line  for  TAPING,  BINDING  or  tying  up  goods. 

Crochet  Laces 

For  edgings  and  insertion  on  all  kinds  of  goods.  Especially  adapted  for 
RIBBED  UNDERWEAR. 

FLEMING  &  CHAPIN, 

215  CHURCH  STREET  PHILADELPHIA. 


xvi 


ADVERTISEMENT. 


PHILADELPHIA 

School  of  Design  for  Women, 

BROAD  AND  MASTER  STREETS. 


FOUNDED  1844.  INCORPORATED  1853. 


COURSES  IN  APPLIED  ART. 

TECHNICAL  DESIGN    APPLIED   TO   WOVEN    AND   PRINTED    FABRICS.     THEORY  OF  DE- 
SIGN.     GENERAL   DESIGNING,    BOOK   COVERS,   ETC.      MURAL  DECORA- 
TION.    ILLUSTRATION.     ETCHING.     CHINA  DECORATION. 


NORMAL  ART  COURSE. 

LIFE  CLASS.    ANTIQUE.    MODELING  FROM  LIFE.     FLOWER  PAINTING  IN  WATER-COLOR 

AND  OIL.  PORTRAITURE. 


For  Particulars  as  to  Courses,  Special  Classes,  Terms,  etc.,  Apply  to 

EMILY  SARTAIN,  Principal. 


xvii 


ADVERTISEMENT. 


the  HJ[JJ5JJanufacturing  Company, 


NEWARK,  N.  J. 


Sole  manufacturers  of 


the: 


PARKHURST 

IMPROVED 

Double  Cylinder 

BURR 
PICKERS, 

Guaranteed  Superior  to 
any  Machine  in  the  Market 
for  cleaning  and  preparing 
stock  for  the  Card  Room. 


THE  LATEST  AND  BEST 


IMPROVED  MIXING  PICKERS. 
Improved  Picker  Feeds, 

For  feeding  Burr  Pickers,  Mixing  Pickers,  Fearnaughts,  etc.,  feed  uniformly  without  selecting  stock. 

Steel  Ring  Cylinders,  Feed  Rolls  and  Burring  Machines  for  Cards. 

The  Sutton  Improved  Side  Drawing  or  Balling  Machine, 

Saves  Labor,  Improves  the  Work. 
A  VALUABLE  ADDITION  TO  ANY  CARD  ROOM. 

CORRESPONDENCE  SOLICITED. 


XVI 11 


ADVERTISEMENT. 


KILBURN,  LINCOLN  &  CO., 

Fall  River,   ^w€$B$i$mm*  """""" 

LOOMS 

^  Cotton  •nd 
Silk  Weaving, 


THE  Seaconnet 
Mills,  of  Fall 
River,  wove  in 
301  days  of  10 
hours,  14,329,219 
yards  of  64x64  goods 
nn  928  of  our  "  High- 
Speed  Looms,"  a  daily 
average  of  51 X  yards 
per  loom. 


95th  THOUSAND 
IN  PRESS. 


THE  FUNK  &  WAQNALLS 


Standard  Dictionary 


of  the 

English 

Language, 


"  The  Standard  Dictionary  should  be  the  Pride  of  Literary  America,  as  it  is  the  Admiration  of  Literary  England.' 

— St.  James  Budget,  London,  July  27th,  1895.    (Weekly  edition  of  St.  James  Gazette.) 


5,000  Illustrations. 

247  Editors  and  Specialists. 


301,865  Vocabulary  Terms.  47,468  Entries  in  the  Appendix. 

125,000  Synonyms  and  Antonyms.        45,000  Illustrative  Quotation*. 

$960,000  Expended  in  its  Production. 

Department  of  Textile  Terms  Edited  by  E.  A.  Posselt.  Many  valuable  Scientific  Color  Formulas,  Tables,  Plates,  etc 

THE  TEXTILE  COLORIST,  PHILADELPHIA,  says: 


"  The  Standard  Dictionary  is  a  work  without  an  equal,  great  in 
its  conception  and  perfect  in  its  execution. 

"  An  important  feature  for  the  scientific  reader  as  well  as  of  special 
interest  for  the  practical  dyer,  colorist,  or  chemist,  is  the  definition 
of  »he  six  primary  colors  of  the  spectrum,  containing  the  analysis 
of  several  hundred  shades  and  tones.  Many  thousand  samples 
were  considered  and  compared  in  perfecting  the  beautiful  color 
plate  under  '  spectrum,'  and  preparing  the  table  of  more  than  400 
formulas  in  connection  with  it.  Und<-r  the  words  denoting  the  six 
primary  colors  extensive  tables  of  dyestuffs  and  pigments  are  given, 
showing  their  naiure  and  chemical  character." 

THE  NEW  YORK  HERALD  says: 
The  Standard  Dictionary  is  a  triumph  in  the  art  of  publication. 
It  is  admirable  from  every  point  of  view.   It  is  the  most  satisfactory 
and  most  complete  dictionary  yet  printed." 

THE  NEW  YORK  MEDICAL  ABSTRACT  says: 
"  It  is  as  far  in  advance  of  the  great  Century  Dictionary  as  the  lat- 
ter was  in  advance  of  Webster's." 


THE  TEXTILE  MANUFACTURING  WORLD,  BOSTON, says: 
"  We  have  given  special  study  to  the  treatment  of  textile  and 
technical  terms  and  phrases  in  the  Standard,  and  have  been  sur- 
prised at  the  thoroughness  with  which  special  technical  terms  have 
been  enumerated  and  accurately  defined.  This  feature  is  quite 
unique  in  d  ctionary-making,  and  as  far  as  our  observation  goes,  in 
comparison  with  the  Century  and  International,  the  Standard  leads 
in  this  respect.  Technical  men  have  been  accustomed  to  look  for 
strictly  trade  and  technical  definitions  in  technicald:ctionaries,  but 
we  believe  the  new  Standard  will  in  almost  every  instance  give  a 
satisfactory  answer  to  the  meaning  of  any  trade  term.  We  have 
made  scores  offests,  and  with  satisfactory  results.  It  is  a  complete 
dictionary,  in  a  word  ;  it  ts  The  Standard." 

THE  JOURNAL  OF  EDUCATION,  BOSTON,  says: 
"  In  thoroughness,  completeness,  accuracy,  typography,  style, 
and  illustration  it  challenges  criticism  and  commands  admiration. 
It  will  make  the  world  its  debtor,  and  all  who  write  must  praise  it 
evermore." 

THE  NEW  YORK  INDEPENDENT  says: 
"  It  is  a  noble  example  in  which  the  modern  tendency  to  popu- 
larize knowledge  has  risen  to  the  highest  level  yet  reached. 


PRICES: 

Half  Russia  In  One  Volume,  $15  00      Half  Russia  In  Two  Volumes,  $18  00 

Full  Russia,  with  Dennlson's  Index,  "  "         18  00      Full  Russia,  with  Dennison's  Index,  "         "  33  00 

Full  Morocco,  "  "  «  "         33  00      Full  Morocco,        "         "  *«         "  36  00 


FUNK  &  WAQNALLS  COMPANY, 


Sold  by  Subscription.   Intelligent  Solicitors  Wanted.      Address  : 


30  Lafayette  Place,  New  York, 


xix 


ADVERTISEMENT. 


AMERICAN  YARN  PRINTING  WORKS. 

JOHN  FORREST, 

Printer  of  Cotton,  Woolen,  Silk  and  Worsted  Yarns  and  Warps 
for  Woven  and  Knit  Goods.    Bleaching  of  Cotton 
and  Woolen  Yarns  a  Specialty. 

134  to  150  INI.  22d  St.,  Philadelphia,  Ra. 

FREDERICK  JONES.  GEO.  H.  GILBERT. 

FREDERICK  JONES  &  CO., 
....  7^.  .  Textile  Design  Papers 

58  North  Fourth  Street,  Philadelphia. 

HAVING  the  experience  and  facilities  for  making  Design  Papers  in  all  sizes,  we  are  enabled  to 
supply  manufacturers  and  public  designers  with  the  best  at  the  lowest  rates.  Special  sizes 
made  to  order.    Will  be  pleased  to  quote  you  prices  for  any  quantity  or  size  you  may  need. 


CH4S.  M«  Mc€L@OT  &  € 

229  CHESTNUT  STREET,  )  DUlo/Jnlnln'a  Do 

Branch  Office,  545  BOURSE  BUILDING,  |  rMiaaeipnia,  ra. 


Fine  Cotton  Yarns,  Tinsels,  Silk  Noils, 

us  SILK  NOILS  YARNS. 

 .  «•»  .  

gelling  Agents  for 

nALCOLM  w    Novelty    ^  Glazed 

^MILLS  CO.,      M   Yarns     "  Threads. 

Frankford,  Pa. 

WORSTED,  MOHAIR,  COTTON,  KNOBS,  BOUGLESI FANCY  TWISTS. 


XX 


ADVERTISEMENT. 


IC 


R, 

MASS, 


L.  S.  WATSON  MFG.  CO.,  ^ 

MANUFACTURERS  OF 

WATSON'S   PATENT  MACHIN 


WIRE  HEDDLES  and  HEDDLE  FRAMES. 


WIRE  HEDDLES  Made  with  Special  Warp  Eyes. 

SPECIAL  HEDDLES  and  DOUP  HEDDLES  for  Leno  Weaving. 


niTADA  MTFP  n  to  be  Perfectly  Adapted  to  Weav- 
VJU/AK^i^N  I  ECU  m- Au  Kinds  of  Cotton,  Woolen 


ng  All  Kinds  of  Cotton,  Woolen 
and  Worsted  Fabrics,  Fancy  Cotton,  etc.,  etc. 


IRON  END  FRAM 

A  Specialty,  Giving  More  Breadth  for  Weaving. 

SUPERIOR  HARNESS  FRAMES  FURNISHED  PROMPTLY. 
Also,  Manufacturers  of  HAND    STRIPPING     CARDS  of  Every  Description 


Fox  &  Lentz, 


Card  Stamping  and  Repeating 

FOR  ALL  TEXTILE  FABRICS, 


2518  N.  Second  Street,  Philadelphia. 


THE  TEXTILE  RECORD  < 

Edited  by  E.  A.  POSSELT. 


THE   BEST  TEXTILE 
JOURNAL. 


Contains  flORE  ORIGINAL  MATTER  upon  practical 
processes  in  the  textile  industry  than  any  other  journal. 

Richly  illustrated  articles  on  new  Textile  Machinery. 

It  is  the  only  periodical  in  the  world  that  fully  repre- 
sents the  knitting  industry. 


Price 


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SAMPLE  COPIES  ON  APPLICATION. 


c^XYMERlCm 


The  Textile  Record  Company, 


425  WALNUT  ST.,  PHILADELPHIA,  PA. 


XXI 


THE  JACQUARD  MACHINE 

ANALYZED  AND  EXPLAINED: 

With  an  Appendix  on  the  Preparation  ot  Jacqnard  Cards  &  Practical  Hints  to  Learners  of  Jacquard  Designing 


WITH  230  ILLUSTRATIONS  AND  NUMEROUS  DIAGRAMS. 

By  E.  A.  POSSELT,  Expert  in  Textile  Designing  and  Manufacturing ;  Principal  of  Posselt's  Private  School 
of  Textile  Design,  and  Editor  of  The  Textile  Record  of  America ;  Author  and  Publisher  of 
"Technology  of  Textile  Design,"  "The  Structure  of  Fibres,  Yarns  and 
Fabrics,"  etc.,  etc. 

This  book,  quarto,  handsomely  bound  in  cloth,  will  be  mailed,  postage  prepaid,  to  any 

address,  upon  receipt  of  Price,  $3.00. 
ABSTRAC T  OK  THE  CONTENTS. 

VIII.— Straight-through  Tie-up  in  Three  Sections. 
IX.— Point  Tie-up  in  Three  Sections. 
X. — Combination  Tie-up  in  Two  Sections. 
XI. — Straight-through  Tie-up  in  Four  Sections. 
XlL— Tying-up  of  Jacquard  Looms  with  Compound  Har- 
ness attached. 
XIII. — Tying-up  Jacquard  Looms  for  Gauze  Fabrics. 


History  of  the  Jacquard  Machine. 

The  Jacquard  Machine— General  Arrangement  and  Appli- 
cation. 

Illustration  of  the  different  parts  of  the  Jacquard  Machine 

—Method  of  Operation,  etc. 
The  Jacquard  Harness— The  Comber-boards. 
Tying-up  of  Jacquard  Harness. 

I.  — Straight-through  Tie-up. 

II.  — Straight-through  Tie-up  for  Repeated  Effects,  in  one 

Repeat  of  the  Design. 

III.  — Straight-through  Tie-up  of  Jacquard  Loom,  having 

Front  Harness  attached. 

IV.  — Centre  Tie-up. 

V. — Straight-through  and  Point  Tie-ups  Combined. 
VI.— Straight-through  Tie-up  in  Two  Sections. 
VII.— Tying-up  a  Jacquard  Harness  for  Figuring  Part  of 
the  Design  with  an  Extra  Warp. 


Modifications  of  the  Single  Lift  Jacquard  Machine. 

I. — Double  Lift  Single  Cylinder  Jacquard  Machine. 

II.  — Double  Lift  Double  Cylinder  Jacquard  Machine. 

III.  — Substitution  of  Tail-cords  for  Hooks. 

Tying-up  of  Jacquard  Harness  for  Two-ply  Ingrain  Carpet 

General  Description  of  the  Construction  of  the  Fabric. 
Straight-through  Tie-up. 
Point  Tie-up. 


APPENDIX. 


Preparing  and  Stamping  of  Jacquard  Cards. 
Dobby  Caid-Punching  Machines. 
Piano  Card-SUmping  Machines. 
Stamping  of  Cards. 


Repeating  Jacquard  Cards   by  the   Positive  Action 
Repeater. 
Lacing  of  Jacquard  Cards. 

Lacing  of  Jacquard  Cards  by  Hand. 
Lacing  of  Jacquard  Cards  by  Machine. 


PRACTICAL  HINTS  TO  LEARNERS  OF  JACQUARD  DESIGNING-. 


Squared  Designing  Paper  for  the  different  Textile  Fabrics 
executed  on  the  Jacquard  Machine. 

Selection  of  the  Proper  brush  for  the  different  H  De- 
signing Papers. 

Colors  used  for  Painting  Textile  Designs. 

Preservation  of  Textile  Designs 
Sketching  of  Designs  for  Textile  Fabrics  to  be  executed  on 
the  Jacquard  Machine. 

Methods  of  Setting  the  Figures. 

Size  of  Sketch  Required. 

Enlarging  and  Reducing  Figures  for  Sketches. 
Transferring  of  the  Sketch  to  the  Squared  Designing 
Paper. 


Glossary. 


Outlining  in  Squares. 

Rules  for  Outlining  in  Squares  Inside  or  Outside  the 

Drawing  Outline. 
Illustration  of  a  Sketch— Outling  on  d  Paper— Finished 

Design — Fabric  Sample  (Single  Cloth). 
Designs  for  Damask  Fabrics  to  be  executed  on  a  Jac- 
quard Loom,  with  Compound  Harness  attached. 
Designs  for  Two-ply  Ingrain  Carpet. 
Designs  for  Dressgoods  Figured  with  Extra  Warp. 
Designs  for  Figured  Pile  Fabrics. 
The  Shading  of  Textile  Fabrics  by  the  Weave. 


ABSTRACT  OF  COMMENTS  OF  THE  LEADING  TEXTILE  PRESS  ON  THIS  WORK. 

It  is  a  thoroughly  practical  work,  written  by  one  who  is  master  of  the  business  in  all  its  various  branches. 

Wade's  Fibre  and  Fabric,  Boston. 

The  work  is  well  gotten  up,  and  with  its  explanatory  illustrations,  cannot  fail  to  be  of  great  service  both  to 
the  student  and  the  advanced  weaver. 

The  Manufacturers'  Review  and  Industrial  Record,  New  York. 
This  work  has  long  been  a  serious  need  in  textile  mills,  and  amongst  designers  and  card  stampers,  and  we 
predict  for  it  a  wide  circulation.    Tributes  to  its  value  have  reached  us  from  most  prominent  manufacture! s  in 
the  country. 

The  Philadelphia  Carpet  Trade. 

The  most  important  addition  ever  made  on  this  side  of  the  Atlantic  to  the  literature  of  the  textile  industry,  etc. 

Textile  Record  of  America,  Philadelphia. 

It  is  a  great  work,  and  is  a  credit  to  the  author,  etc.,  etc. 

The  Bulletin  of  the  Philadelphia  Textile  Association,  now  the  Manufacturer. 


It  is  the  only  work  in  the  English  language  that  treats  exclusively  on  the  Jacquard  Machine.  No  designer 
*vho  wishes  to  be  up  in  his  vocation  should  be  without  it. 

Boston  Journal  of  Commerce. 

ADDRESS  AEE  ORDERS  TO 

E.  A.  POSSELT,  Publisher, 

2152  N.  Twenty-first  Street,  Philadelphia,  Pa. 

xxii 


THE  LEADING  WORK  ON  TEXTILE  MANUFACTURING. 


The  Structure  of  Fibres,Yarns  $  Fabrics 

Being  a  Practical  Treatise  for  the  Use  of  All  Persons  Employed  in  the  Manufacture  of  Textile  Fabrics. 

 by  

E.  A.  POSSELT. 

ACCOMPANIED  BY  OVER  400  ILLUSTRATIONS. 

Two  Volumes  Bound  in  One.     Quarto,  Handsomely  Bound  in  Cloth.     Price,  Fiye  Dollars,  including  Expressage. 

THE  MOST  IMPORTANT  WORK  ON 

The  Structure  of  Cotton,  Wool,  Silk,  Flax,  Jute  and  Ramie  Fibres, 
The  Preparatory  Processes  these  Fibres  are  subjected  to  previously  to 
The  Picking,  Carding,  Combing,  Drawing,  Spinning,  and 
Calculations  required  by  the  Manufacturers. 

This  work,  as  well  as  the  other  books  written  and  pub'ished  by  Mr.  Posselt,  have  been  sold  by  the  thousands 
amongst  our  Manufacturers,  Overseers  and  Operators. 

They  also  sold  extensively  in  England,  Germany,  France,  Austria,  Russia,  Brazil,  Japan,  etc. 
They  are  used  as  Text-Books  in  the  various  Textile  Schools. 

What  Practical  Manufacturers  have  to  say  on  the  Books : 


SAXON  WORSTED  COMPANY,  Franklin,  Mass. 
MR.  E.  A.  Posselt,  Dear  Sir  : — You  may  please  send  to  us  five 
(5)  more  copies  of  your  new  book,  "The  Structure  of  Fibres, 
Ya  ns  and  Fabrics."  This  will  make  six  copies  iu  all,  for  wh  ch 
we  will  send  you  check.  We  trust  the  work  will  meet  with  the 
sale  which  it  deserves.  The  composition  of  such  an  extensive 
and  yet  accurate  work  certainly  earns  for  you  the  thanks  and 
appreciation  of  all  interested  in  textile  industries 

Yours,  etc.,  I.  G.  Udd,  Treasurer. 


BONAPARTE  WOOLEN  MIL,!,,  Bonaparte,  Iowa. 
E.  A.  Posselt,  Esq  ,  Dear  Sir : — Your  book,  "  The  Structure  of 
Fibres,  Yarns  and  Fabrics,"  received  4th  iust  ,  and  have  encksed 
draft  $10.00  on  New  York  in  payment  of  same.  I  have  delayed 
for  a  few  days  before  writing  you  in  order  to  give  myself  time  to 
look  through  the  work.  I  must  say  that  I  have  always  received 
ftom  you  sterling  value  for  my  money,  and  your  present  work  is 
no  exception  to  the  rule.  It  more  than  meets  my  expectations, 
and  I  shall  find  it  very  helpful  to  myself  It  will  be  simply  in- 
valuable to  the  young  man  learning  the  art  of  woolen  manufact- 
ure, who  has  to  rely  on  himself  too  often  and  get  little  encourage- 
ment from  those  around  him  To  such  a  one  your  work  will  prove 
a  veiitable  mine  ot  information.  Wishing  you  much  success,  I 
am,  yours  truly,  W.  R.  Dredge,  Supt. 


THE  KNOX-HILL  COMPANY,  Warsaw,  Ills. 
Mr.  E-  A.  Posselt,  D  ar  Sir:— Your  work  "  Technology  of 
Textile  Design  '  received,  and  I  am  very  much  pleased  with  it. 
I  expected  it  would  be  good  but  it  goes  beyond  my  anticipation. 

Yours  truly,  J.  W.  Wilson,  Supt. 


MILLBURY  SCOURING  COMPANY,  West  Millbury,  Mass. 
Mr.  E.  A.  Posselt,  Dear  Sir  .-—Enclosed  check  in  payment  of 
book,  "  Fibres,  Yarns  and  Fabrics  "  Thank  you  for  terms,  etc. 
Your  book  "  Technology  of  Textile  Design  "  was  the  instruction 
book  at  the  Lowell  School  of  Design  and  therefore  have  one  on 
band,  which  is  quite  inexhaustive  and  its  own  talker. 

Yours,  W.  W.  Windle. 


MANUFACTURERS  OF  WOOLEN  HOSIERY,  Milroy,  Pa. 
Many  thanks  for  the  superb  book  you  sent  on  Textile  Fibres 
and  their  manipulations.    It  is  excellent.    Yours,  etc., 

Thompson  Bros. 


BRIDGEPORT  SILK  COMPANY,  Bridgeport,  Conn. 
E.  A.  Posselt,  Esq.,  Dear  Sir  :—  Please  find  enclosed  amount  of 
bill  for  last  publication  sent  me.    I  now  have  all  your  works  up 
to  date,  and  sincerely  wish  you  luck  with  your  last  exellent 
effort.    What  next?   Send  circular. 

Respectfully,  F.  M.  Patterson. 


FROM  CAXIAS,  BRAZIL. 
Mr.  E.  A.  Posselt,  Dear  Sir:— Have  received  the  books 
"  Structure  of  Fibres,  Yarns  and  Fabrics,"  "  Technology  of  Tex- 
tile Design,"  "The  Jacquard  Machine,"  and  am  much  pleased 
with  them.  Yours  truly,  Robert  D.  Wall. 


RAY'S  WOOLEN  COMPANY,  Franklin,  Mass. 
E  A.  Posselt,  'Esq..,  Dear  Sir:    I  have  purchased  more  ihan 
82=  00  worth  of  boots  on  manufacturing  before  purchasing  yours, 
and  can  truthfully  say  "Fibres,  Yarns  and  Fabrics,"  is  worth 
double  all  the  others  are.    I  am  yours,  Joseph  Aldrich. 


MASCOMA  FLANNEL  COMPANY. 
E.  A.  Posselt,  Dear  Sir  .—Enclosed  please  find  check  for  pay- 
ment of  enclosed  bill  for  copy  "  Structure  of  Fibres,  Yarns  and 
Fabrics"  Was  much  pi  .ased  with  book,  it  is  well  worth  the 
money  to  an  experienced  manufacturer,  and  many  times  its  cost 
to  beginners  in  the  art  of  manufacturing  If  I  could  have  had 
such  a  work  in  my  younger  davs  of  manufacturing,  it  would  have 
learned  me  many  points  that  I  had  to  work  out  by  study,  obser- 
vation and  experience,  attended  with  more  or  less  mistakes  on 
my  part  and  expenses  otherwise.  M.  E.  George,  Supt. 


JAMESTOWN,  N.  Y. 
Mr.  E.  A.  Posselt,  Dear  Sir:—  Please  find  enclosed  money 
order  .  .  (for  books  send)  I  am  well  pleased  with  the  books. 
The  book  "  Technology  of  Textile  Design,"  and  the  book  "  Struct- 
ure of  Fibres,  Yarns  and  Fabrics."  I  would  not  be  without  for 
their  weight  in  gold.    Please  acknowledge  receipt  and  oblige 

Yours  truly,  T.  D.  Douglass 


EATON  RAPIDS  WOOLEN  MILLS,  Eaton  Rapids,  Mich. 
E.  A.  Posselt.  Dear  Sir  :-I  have  further  examined  the  books 
purchased  of  you,  *'  Structure  of  Fibres,  Yarns  and  Fabrics"  and 
"  Technology  of  Textile  Design,''  and  find  them  just  what  I 
wanted.  Yours  truly,  Wm  A  Horner. 


HAMILTON,  ONT  ,  CANADA. 
Mr  E.  A.  Posselt,  Dear  Sir  .—When  I  was  living  in  Magog, 
Quebec,  I  sent  for  two  of  your  books.    I  am  well  pleased  with 
them  and  would  not  be  without  them  for  ten  times  the  money. 

Harry  Marsh,  143  Picton  Street,  East. 


THE  ACME  FELT  COMPANY,  Albany,  N.  Y. 
Mr.  E.  A.  Posselt,  Dear  Sir:— Book,  "Structure  of  Fibres, 
Yarns  and  Fabrics,"  received.    Very  much  pleased  with  it. 

Yours  respectfully,  The  Acme  Felt  Company.— 


PROVIDENCE  WORSTED  MILLS,  Providence,  R.  I. 
My  Dear  Posselt  :— I  have  your  latest  work,  "  Structure  of 
Fibres,  Yarns  and  Fabrics,"  and  I  assume,  in  my  opinion,  it  is 
the  best  work  of  the  kind  ever  published.  H.  Sheridan. 


ADDRESS  ALL  ORDERS  FOR  BOOKS  TO  E.  A.  POSSELT,  PUBLISHER,  2152  NORTH  21st  ST.,  PHILA. 

xxiii 


Posselt's  Textile  Library,  Volume  I. 


Textile  Calculations, 

A  Complete  Guide  to  Calculations  relating  to  the  Construction  of  all  Kinds  of  Yarns  and 
Fabrics,  the  Analysis  of  Cloth,  Speed,  Power  and  Belt  Calculations, 

For  the  use  of  Students,  Operatives,  Overseers  and  Manufacturers, 

BY 

E.  A.  POSSELT, 

In  One  Vol.  Quarto.    Handsomely  bound  in  Cloth  and  Gold.    186  pages.    Numerous  Illustrations. 

PRICE,  TWO  DOLLARS. 

ABSTRACT  OF  THE  CONTENTS. 


YARN  AND  CLOTH  CALCULATIONS. 

Grading  of  the  Various  Yarns  Used  in  the  Manufacture  of  Textile  Fabrics  According  to  Size  or 
Counts — To  Find  the  Equivalent  Counts  of  a  Given  Thread  in  Another  System — To  Ascertain  the 
Counts  of  Twisted  Threads  Composed  of  Different  Materials — To  Ascertain  the  Counts  for  a  Minor 
Thread  to  Produce,  with  Other  Given  Minor  Threads,  Two,  Three  or  More  Ply  Yarn  of  a  Given 
Count — To  Ascertain  the  Amount  of  Material  Required  for  Each  Minor  Thread  in  Laying  out  Lots 
for  Two,  Three  or  More  Ply  Yarn — To  Ascertain  the  Cost  of  Two,  Three  or  More  Ply  Yarn — To 
Find  the  Mean  or  Average  Value  of  Yarns  of  Mixed  Stocks — Reed  Calculations — Warp  Calculations 
— Filling  Calculations — To  Ascertain  the  Amount  and  Cost  of  the  Materials  Used  in  the  Construc- 
tion of  all  Kinds  of  Plain  and  Fancy  Cotton  and  Woolen  Fabrics. 

STRUCTURE  OF  TEXTILE  FABRICS. 

The  Purpose  of  Wear  that  the  Fabric  will  be  Subject  to — The  Nature  of  Raw  Materials — Counts 
of  Yarn  Required  to  Produce  a  Perfect  Structure  of  Cloth — To  Find  the  Diameter  of  a  Thread  by 
Means  of  a  Given  Diameter  of  Another  Count  of  Yarn — To  Find  the  Counts  of  Yarn  Required  for  a 
Given  Warp  Texture  by  Means  of  a  Known  Warp  Texture  with  the  Respective  Counts  of  the  Yarn 
Given — Influence  of  the  Twist  of  Yarns  upon  the  Texture  of  a  Cloth — To  find  the  Amount  of  Twist 
Required  for  a  Yarn  if  the  Counts  and  Twist  of  a  Yarn  of  the  Same  System,  but  of  Different  Counts, 
are  Known — Influence  of  the  Weave  upon  the  Texture  of  a  Fabric — To  Find  the  Texture  of  a  Cloth 
— To  Change  the  Texture  for  Given  Counts  of  Yarn  from  one  Weave  to  Another — To  Change  the 
Weight  of  a  Fabric  without  Influencing  its  General  Appearance — To  Find  Number  of  Ends  Per  Inch 
in  Required  Cloth — Weaves  which  will  Work  with  the  Same  Texture  as  the  2  2  Twill — Weaves 
which  will  Work  with  the  Same  Texture  as  the  — ?,  etc.,  Twill — Selections  of  the  Proper  Texture 
for  Fabrics  Interlaced  with  Satin  Weaves — Rib  Weaves — Corkscrew  Weaves — Two  Systems  Filling 
and  One  System  Warp — Two  Systems  Warp  and  One  System  Filling — Two  Systems  Warp  and  Two 
Systems  Filling. 

ANALYSIS. 

How  to  Ascertain  the  Raw  Materials  Used  in  the  Construction  of  Textile  Fabrics — Microscopical 
Appearance  of  Fibres — Tests  for  Ascertaining  the  Raw  Materials  Used  in  the  Construction  of  Yarns 
or  Fabrics — How  to  Ascertain  the  Percentage  of  Each  Material  Constituting  the  Fabric — How  to 
Test  the  Soundness  of  Fibres  or  Yarns — How  to  Test  Given  Counts  of  Yarn — How  to  Ascertain  the 
Weight  of  Cloth — How  to  calculate  the  Weight — How  to  Test  and  Analyze  the  Various  Finishes — 
Cotton  Spinning. 

SPEED,  BELTING,  POWER,  Etc. 

Speed — Belting — Water  Power — Steam  Power — Heat. 
Arithmetic — U.  S.  Measures — Metric  System. 

xx  iv 


NOW  IN  PRESS!  READY  OCTOBER,  1896, 

Posselt's  Textile  Library,  Volume  II. 

BOUND  IN  CLOTH  AND  OOLD.   PRICE,  $2.00. 


WOOL  DYEING. 


(PART  I  ) 

By  WALTER  M.  GARDNER,  F.  C  S., 

Director  of  the  Chemistry  and  Dyeing  Department  of  the  Technical  College,  Bradford,  England. 

Fublished  by  E.  A.  POSSELT,  2152  North  Twenty-first  Street,  Phi'adelphia. 

CONTENTS. 

1.  WOOL  FIBRE. — Cultivation  and  mode  of  growth.    Physical  structure.    Difference  between  wool,  hair  and  fur. 

Physical  properties  :— strength,  elasticity,  curliness,  lustre,  etc.  How  to  retain  these  during  manufacturing 
processes  Felting  property.  Avidity  for  moisture.  Various  methods  of  drying  wool.  Chemical  com- 
position of  wool.  Raw  and  purified  wool.  Lanuginic  acid.  Action  on  the  fibre  of  the  various  chemical 
re-agents  used  in  manufacturing  processes.    The  "carbonizing"  or  "extracting"  process. 

2.  WOOL  SCOURING. — Object  of  scouring  wool.    Composition  of  wool  yolk.    Cholesterol.    Manufacture  of 

"lanolin".  The  wool  steeping  process.  Extraction  of  potash  salts  from  yolk  ash.  Theory  of  scouring. 
The  "emulsion"  and  "solution"  process.  Composition  and  analysis  of  scouring  agents.  Machinery 
employed  for  the  scouring  of  loose  wool,  yarn  and  cloth.    Recovery  of  grease  from  waste  scouring  liquors. 

3.  WOOL   BLEACHING —The   tinting  process.     The  sulphur  bleach.     "  Stoving  "    or    "gas  bleaching." 

"  Liquid  "  or  "  wet  bleaching  ".  Hydrosulphite  of  soda  as  a  bleaching  agent.  The  peroxide  bleach.  Use 
©f  hydrogen,  sodium  and  barium  peroxides.    Estimation  of  peroxide.    Use  of  permanganate  of  potash. 

4.  WATER. — Sources  of  water.    Characteristics  of  rain,  river,  spring  and  well  water.    Mechanical  and  dissolved 

impurities.  Lime  and  magnesium  salts.  Temporary  and  permanent  "hardness".  Iron  as  an  impurity. 
Detection  and  estimation  of  impurities.  Effect  of  water  impurities  during  scouring.  Mordanting  and 
dyeing  processes.    The  technical  purification  of  water.    Water  purifying  apparatus. 

5.  MORDANTS. — Function  of  mordants  and  theory  of  mordanting.    Metallic  salts  as  mordants.    Chromium  mor- 

dants. The  chroniates  and  chromic  salts.  Copper  and  iron  salts  as  mordants  for  wool.  Aluminium  and  tin 
mordants.    Compounds  of  zinc,  manganese,  uranium,  etc.,  as  mordants. 

6.  VARIOUS   CHEMICALS. — Assistants.    Cream   of  tartar  and  argol.     Binoxalate   of  potash.    Lime  salts. 

Mineral  acids  ;  sulphuric,  hydrochloric  and  nitric  acids.  Organic  acids  ;  oxalic,  tartaric,  acetic  and  lactic 
acids,  etc.    Alkalies  ;  caustic  and  carbonated  alkalies.    Solvents;  alcohol,  acetone,  benzine,  etc. 

APPENDIX. 

Metric  Weights  and  Measures.    Comparative  Table  of  English  and  Metric  Weights.    Table  of  Thermometer  Scales. 
Table  of  Hydrometer  Scales.    Table  of  the  Elements,  their  Symbols  and  Atomic  Weights 


IN  PREPARATION.         READY  JANUARY,  1897. 

Posselt's  Textile  Library,  Volume  III 


COLOR  IN  textile:  fabrics. 

By  FLORENCE  A.  EINSTEIN, 

Head  of  Department  of  Technical  Design    in  the  Philadelphia  School  of  Design  for  Women, 

and  E.  A.  POSSELT, 

Expert  in  Textile  ^Designing  and  Manufacturing. 

WITH  MHEROr8  COLORED  PLATES. 


ADVERTISEMENT. 


"^Royle 

JAGQUARD  CARD 
MACHINERY.^ 

French  Index  and  Fine  Scale. 

Piano  Machines,  P0%S$£?.WER 

Repeaters. 

Peg «nd  Lace  Hole  Cutters 

Combined  Punching  and 

Lacing  flachines 


/^UR  line  of  Jacquard  Card  Cut- 
ting  Machinery  has  recently 
been  completed  by  the  addition  of  an 

Automatic  Peg  and  Lace  Hole  Cutter 

AND  AN 

Automatic  Combined  Punching 
and  Lacing  Machine. 

The  first  of  these  machines  automatically  feeds  the  cards,  cuts  the  peg  and  lace 
holes,  and  piles  the  cards  np,  ready  for  nse.  The  combined  machine  feeds  the  cards, 
punches  the  peg  and  lace  holes,  and  laces  and  delivers  the  cards,  all  being  done  auto- 
matically, at  one  operation.  These  machines  are  a  decided  step  in  advance  of  any- 
thing else  that  has  been  offered  for  doing  this  work.  The  Lacer  is  an  especially  valu- 
able machine,  cutting  off,  practically,  one  handling  of  the  cards,  and  effecting  a  pro- 
portionate saving  in  time  and  money.  We 
build  both  Lock  and  Loop-Stitch  Lacers. 


FINE  SCALE  MACHINERY 

has  had  our  particular  attention. 
We  can  furnish 

Repeaters,  Piano  Machines  (b0thpo£oer),and 
Lacers,  Peg  Hole  Cutters,  etc., 

arranged  to  cut  the  1304— hook  cards — as  well  as 

FRENCH  INDEX  MACHINES. 

We  also  build  DOBBIES,  QUILLERS,  etc.,  etc. 


John  Royle  &  Sons 


Paterson, 
N.  J. 


WORKS,  COR.  STRAIGHT  AND  ESSEX  STS. 


XXVI 


